V 


VOL.1. 


GRANT 
ALLEN 


"^<^aS;>^1 


"^ 


LIBRARY 

THE  UNIVERSITY 
OF  CALIFORNIA 

SANTA  BARBARA 

PRESENTED   BY 


HILTON   P.    GOSS 


FLORENCE 


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Florence $3.00 

lly  Gbant  Allen 

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The  Same. —Unillustrated      .         1.50 

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Paris 3.00 

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\iblishers 


FLORENCE 


By 

Grant   Allen 


IN    TWO    VOLUMES 

Vol.  I. 

ILLUSTRATED 


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Fourth  Impression,  July,   1906 


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Electrotyped  and  Printed  by  C.  H.  Simonds  &  Co. 

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INTRODUCTION. 

THE  object  and  plan  of  this  book  is  some- 
what different  from  that  of  any  other 
guides  at  present  before  the  public.  It  does  not 
compete  or  clash  with  such  existing  works  ;  it  is 
rather  intended  to  supplement  than  to  supplant 
them.  My  purpose  is  not  to  direct  the  stranger 
through  the  streets  and  squares  of  an  unknown 
town  toward  the  buildings  or  sights  which  he 
may  desire  to  visit ;  still  less  is  it  my  design 
to  give  him  practical  information  about  hotels, 
cab  fares,  omnibuses,  tramways,  and  other  every- 
day material  conveniences.  For  such  details, 
the  traveller  must  still  have  recourse  to  the 
trusty  pages  of  his  Baedeker,  his  Joanne,  or 
his  Murray.  I  desire  rather  to  supply  the  tour- 
ist who  wishes  to  use  his  travel  as  a  means 
of  culture  with  such  historical  and  antiquarian 
information  as  will  enable  him  to  understand, 
and  therefore  to  enjoy,  the  architecture,  sculp- 


X  Introduction. 

ture,  painting,  and  minor  arts  of  the  towns  he 
visits.  In  one  word,  it  is  my  object  to  give  the 
reader  in  a  very  compendious  form  the  result 
of  all  those  inquiries  which  have  naturally  sug- 
gested themselves  to  my  own  mind  during  thirty- 
five  years  of  foreign  travel,  the  solution  of  which 
has  cost  myself  a  good  deal  of  research,  thought, 
and  labour,  beyond  the  facts  which  I  could  find 
in  the  ordinary  handbooks. 

For  several  years  past  I  have  devoted  myself 
to  collecting  and  arranging  material  for  a  book 
to  embody  the  idea  I  had  thus  entertained.  I 
earnestly  hope  it  may  meet  a  want  on  the  part 
of  tourists,  especially  Americans,  who,  so  far 
as  my  experience  goes,  usually  come  to  Europe 
with  an  honest  and  reverent  desire  to  learn 
from  the  Old  World  whatever  of  value  it  has 
to  teach  them,  and  who  are  prepared  to  take 
an  amount  of  pains  in  turning  their  trip  to 
good  account  which  is  both  rare  and  praise- 
worthy. For  such  readers  I  shall  call  attention 
at  times  to  other  sources  of  information. 

The  general  plan  pursued  will  be  somewhat 
as  follows.  First  will  come  the  inquiry  why 
a  town  ever  gathered  together  at  all  at  this 
particular  spot  —  what  induced  the  aggregation 


Introduction.  xi 

of  human  beings  rather  there  than  elsewhere. 
Next,  we  shall  consider  why  this  town  grew 
to  social  or  political  importance  and  what  were 
the  stages  by  which  it  assumed  its  present  shape. 
Thirdly,  we  shall  ask  why  it  gave  rise  to  that 
higher  form  of  handicraft  which  we  know  as 
Art,  and  toward  what  particular  arts  it  es- 
pecially gravitated.  After  that,  we  shall  take 
in  detail  the  various  strata  of  its  growth  or 
development,  examining  the  buildings  and  works 
of  art  which  they  contain  in  historical  order, 
and,  as  far  as  possible,  tracing  the  causes  which 
led  to  their  evolution.  In  particular,  we  shall 
lay  stress  upon  the  origin  and  meaning  of  each 
structure  as  an  organic  whole,  and  upon  the 
allusions  or  symbols  which  its  fabric  embodies. 

A  single  instance  will  show  the  method  upon 
which  I  intend  to  proceed  better  than  any 
amount  of  general  description.  A  church,  as 
a  rule,  is  built  over  the  body  or  relics  of  a 
particular  saint,  in  whose  special  honour  it  was 
originally  erected.  That  saint  was  usually  one 
of  great  local  importance  at  the  moment  of 
its  erection,  or  was  peculiarly  implored  against 
plague,  foreign  enemies,  or  some  other  pressing 
and  dreaded  misfortune.     In  deaHng  with  such 


xii  Introduction. 

a  church,  then,  I  endeavour  to  show  what  were 
the  circumstances  which  led  to  its  erection,  and 
what  memorials  of  these  circumstances  it  still 
retains.  In  other  cases  it  may  derive  its  origin 
from  some  special  monastic  body  —  Benedictine, 
Dominican,  Franciscan  —  and  may  therefore  be 
full  of  the  peculiar  symbolism  and  historical 
allusion  of  the  order  who  founded  it.  Wherever 
I  have  to  deal  with  such  a  church,  I  try  as  far 
as  possible  to  exhibit  the  effect  which  its  origin 
had  upon  its  architecture  and  decoration ;  to 
trace  the  image  of  the  patron  saint  in  sculpture 
or  stained  glass  throughout  the  fabric  ;  and  to 
set  forth  the  connection  of  the  whole  design 
with  time  and  place,  with  order  and  purpose. 
In  short,  instead  of  looking  upon  monuments 
of  the  sort  mainly  as  the  product  of  this  or  that 
architect,  I  look  upon  them  rather  as  material 
embodiments  of  the  spirit  of  the  age  —  crystalli- 
sations, as  it  were,  in  stone  and  bronze,  in  form 
and  colour,  of  great  popular  enthusiasms. 

By  thus  concentrating  attention  on  what  is 
essential  and  important  in  the  town,  I  hope  to 
give  in  a  comparatively  short  space,  though 
with  inevitable  conciseness,  a  fuller  account 
than  is  usually  given  of  the  chief  architectural 


Introduction.  xiii 

and  monumental  works  of  the  principal  art-cities. 
Whatever  I  save  from  description  of  the  Cascine 
and  even  of  the  beautiful  Viale  dei  Colli  (where 
explanation  is  needless  and  word-painting  super- 
fluous), I  shall  give  up  to  the  Bargello,  the 
Uffizi,  and  the  Pitti  Palace.  The  passing  life 
of  the  moment  does  not  enter  into  my  plan ;  I 
regard  the  town  I  endeavour  to  illustrate  mainly 
as  a  museum  of  its  own  history- 

For  this  reason,  too,  I  shall  devote  most  at- 
tention to  what  is  locally  illustrative,  and  less 
to  what  is  merely  adventitious  and  foreign.  I 
shall  deal  rather  with  the  Etruscan  remains,  with 
Giotto  and  Fra  Angelico,  with  the  Duomo  and 
the  Campanile,  than  with  the  admirable  Mem- 
lincks  and  Rubenses  of  the  Uffizi  and  the  Pitti, 
or  with  the  beautiful  Van  der  Goes  of  the 
Hospital  of  Santa  Maria.  I  shall  assign  a  due 
amount  of  space,  indeed,  to  the  foreign  collec- 
tions, but  I  shall  call  attention  chiefly  to  those 
monuments  or  objects  which  are  of  entirely 
local  and  typical  value. 

As  regards  the  character  of  the  information 
given,  it  will  be  mainly  historical,  antiquarian, 
and,  above  all,  explanatory.  I  am  not  a  con- 
noisseur—  an    adept    in    the    difficult    modem 


xiv  Introduction. 

science  of  distinguishing  the  handicraft  of  vari- 
ous masters,  in  painting  or  sculpture,  by  minute 
signs  and  delicate  inferential  processes.  In  such 
matters,  I  shall  be  well  content  to  follow  the 
lead  of  the  most  authoritative  experts.  Nor 
am  I  an  art-critic  —  a  student  versed  in  the 
technique  of  the  studios  and  the  dialect  of  the 
modelling-room.  In  such  matters,  again,  I  shall 
attempt  little  more  than  to  accept  the  general 
opinion  of  the  most  discriminative  judges.  What 
I  aim  at  rather  is  to  expound  the  history  and 
meaning  of  each  work  —  to  put  the  intelligent 
reader  in  such  a  position  that  he  may  judge  for 
himself  of  the  aesthetic  beauty  and  success  of 
the  object  before  him.  To  recognise  the  fact 
that  this  is  a  Perseus  and  Andromeda,  that  a 
St.  Barbara  enthroned,  the  other  an  obscure 
episode  in  the  legend  of  St.  Philip,  is  not  art- 
criticism,  but  it  is  often  an  almost  indispensable 
prelude  to  the  formation  of  a  right  and  sound 
judgment.  We  must  know  what  the  artist  was 
trying  to  represent  before  we  can  feel  sure 
what  measure  of  success  he  has  attained  in  his 
representation. 

For  the  general  study  of  Christian  art,  alike 
in  architecture,  sculpture,  and  painting,  no  trea- 


Introduction.  xv 

tises  are  more  useful  for  the  tourist  to  carry 
with  him  for  constant  reference  than  Mrs. 
Jameson's  "  Sacred  and  Legendary  Art,"  and 
"  Legends  of  the  Madonna."  For  works  of  Ital- 
ian art,  both  in  Italy  and  elsewhere,  Kugler's 
"  Italian  Schools  of  Painting "  is  an  invaluable 
vade-mecum.  These  books  should  be  carried 
about  by  everybody  everywhere.  Other  works 
of  special  and  local  importance  will  occasionally 
be  noticed  under  each  particular  city,  church, 
or  museum. 

Wherever  in  the  text  paintings  or  other 
objects  are  numbered,  the  numbers  used  are 
always  those  of  the  latest  official  catalogue. 
Individual  works  of  merit  are  distinguished  by 
an  asterisk ;  those  of  exceptional  interest  and 
merit  have  two  asterisks. 


CONTENTS. 


CHAPTBR 

I. 

II. 

III. 

IV. 

V. 

VI. 

VII. 

VIII. 

IX. 
X. 

XI. 

XII. 
XIII. 


Introduction 

Origins  of  Florence    . 

Santa    Croce    and    the    Franciscan 

Quarter       

The  Sacristy  and  the  Chapels  . 
Santa  Maria  Novella  and  the  First 

Dominican  Quarter   . 
The  Spanish  Chapel 
The  Old  Cathedral 
The  New  Cathedral     . 
The  Second  Dominican  Quarter:  San 

Marco 

The  Fra  Angelicos  of  San  Marco 
The  Belle  Arti     .... 
The   Halls  of   Perugino  and   Botti 

celli 

The  Tuscan  Galleries 
The  Hall  of  Fra  Angelico 


PAGB 

ix 
I 

lO 

24 

38 

59 
73 

94 

I II 
123 

141 

154 
175 
199 


LIST  OF   ILLUSTRATIONS. 

Volume  I. 


PAGE 


Michael  Angelo.  —  David  {seepage  i^i)  Frontispiece 

General  View  of  Florence   ....  6 
Church   of    Santa    Croce    and    Statue   of 

Dante 12 

Interior  of  Santa  Croce       ....  16 
Taddeo  Gaddi.  —  Presentation  of  the  Vir- 
gin           19 

Giotto.  —  Raising  of  Drusiana      ...  28 

Tomb  of  Galileo  Galilei        ....  34 

Strozzi  Palace 39 

Interior  of  Santa  Maria  Novella      .        .  44 

Filippino  Lippi.  —  Raising  of  Drusiana        .  48 
Ghirlandajo.  —  Birth  of  John  the  Baptist 

(Detail) 53 

Green   Cloister   in   Santa  Maria  Novella  61 

Simone  Martini.  —  Church  Militant  (Detail)  64 
Taddeo    Gaddi.  —  Glory     of     St.    Thomas 

Aquinas  (Detail)  ......  68 

xix 


XX  List  of  Illustrations. 

PACK 

The  Cathedral 76 

Baptistery 80 

Andrea    Pisano.  —  Bronze    Doors    of    the 

Baptistery 82 

Lorenzo  Ghiberti Bronze  Doors  of  the 

Baptistery 88 

fagade  of  the  cathedral  ....  94 
Interior  of  the  Cathedral  ....      99 

The  Campanile no 

Piazza  and  Church  of  San  Marco  .  .114 
Fra  Angelico.  —  Great  Crucifixion  .  .116 
Fra  Angelico.  —  Annunciation  .  .  .124 
Fra  Angelico.  —  Coronation  of  the  Virgin  128 
Benozzo  Gozzoli.  —  Portrait  of  Lorenzo 
THE  Magnificent  (Detail  of  the  Journey  of 
the  Three  Kings  to  Bethlehem)       .         .         .138 

CiMABUE.  —  Madonna 144 

Perugino.  —  Assumption  of  the  Virgin  (De- 
tail)         154 

FiLiPPO  Lippi.  —  Coronation  of  the  Virgin     160 
Botticelli.  —  Three    Graces  (Detail  of  the 

Primavera)     .         .         .         .         .         .         .162 

Botticelli.  —  Coronation  of  the  Virgin  .  167 
FiLipPiNO    Lippi    and    Perugino.  —  Descent 

FROM  the  Cross 170 

Gentile  da  Fabriano.  —  Adoration  of  the 

Magi 176 

Fra  Angelico. —  Descent  from  the  Cross  .  178 
Giotto.  —  Adoration  of  the  Magi  .  .  185 
Lorenzetti.  —  Presentation  in  the  Temple     188 


List  of  Illustrations. 


XXI 


PAGB 


Carlo  Dolci. —  Eternal  Fathkr  .  .  .197 
Fra  Angelico.  —  St.  Cosimo  and  St.  Damian  202 
Fra  Angelico. —  Way  to  Calvary  .  .  205 
Fra  Angelico.  —  Last  Judgment  .  .  .  208 
Filippo  Lippi.  —  Annunciation        .        ,        ,    212 


Florence, 

— • — • 

CHAPTER    I. 

ORIGINS    OF    FLORENCE. 

ONLY  two  considerable  rivers  flow  from 
the  Apennines  westward  into  the  Medi- 
terranean. The  Tiber  makes  Rome ;  the  Arno 
makes  Florence. 

In  prehistoric  and  early  historic  times,  the 
mountainous  region  which  forms  the  basin  of 
these  two  rivers  was  occupied  by  a  gifted  mil- 
itary race,  the  Etruscans,  who  possessed  a 
singular  assimilative  power  for  Oriental  and 
Hellenic  culture.  Intellectually  and  artistic- 
ally, they  were  the  pick  of  Italy.  Their  blood 
still  runs  in  the  veins  of  the  people  of  Tuscany. 
Almost  every  great  thing  done  in  the  Peninsula, 
in  ancient  or  modern  times,  has  been  done  by 
I 


2  Florence. 

Etruscan  hands  or  brains.  The  poets  and 
painters,  in  particular,  with  few  exceptions, 
have  been,  in  the  wide  ethnical  sense,  Tuscans. 

The  towns  of  ancient  Etruria  were  hill-top 
strongholds.  Florence  was  not  one  of  these ; 
even  its  neighbour,  Fiesole  (Faesulae),  did  not 
rank  among  the  twelve  great  cities  of  the 
Etruscan  league.  But  with  the  Roman  con- 
quest and  the  Roman  peace,  the  towns  began 
to  descend  from  their  mountain  peaks  into  the 
river  valleys ;  roads  grew  important,  through 
internal  trade  ;  and  bridges  over  rivers  assumed 
a  fresh  commercial  value.  Florence  (Florentia), 
probably  founded  under  Sulla  as  a  Roman 
municipium,  upon  a  Roman  road,  guarded  the 
bridge  across  the  Arno,  and  gradually  absorbed 
the  population  of  Fiesole.  Under  the  later 
empire,  it  was  the  official  residence  of  the 
"  Corrector  "  of  Tuscany  and  Umbria.  During 
the  Middle  Ages,  it  became  for  all  practical 
purposes  the  intellectual  and  artistic  capital  of 
Tuscany,  inheriting  in  full  the  remarkable 
mental  and  aesthetic  excellences  of  the  Etrus- 
can race. 

The  valley  of  the  Arno  is  rich  and  fertile, 
bordered  by  cultivable  hills,  which  produce  the 


Origins  of  Florence.  3 

famous  Chianti  wine.  It  was  thus  predestined 
by  nature  as  the  seat  of  the  second  city  on  the 
west  slope  of  Italy.  Florence,  however,  was 
not  always  that  city.  The  seaport  of  Pisa 
(now  silted  up  and  superseded  by  Leghorn) 
first  rose  into  importance ;  possessed  a  powerful 
fleet ;  made  foreign  conquests ;  and  erected  the 
magnificent  group  of  buildings  just  outside  the 
town  which  still  form  its  chief  claim  upon 
the  attention  of  tourists.  But  Florence  with 
its  bridge  commanded  the  inland  trade,  and  the 
road  to  Rome  from  Germany.  After  the  de- 
struction of  Fiesole  in  1 125,  it  grew  rapidly  in 
importance  ;  and,  Pisa  having  sustained  severe 
defeats  from  Genoa,  the  inland  town  soon  rose 
to  supremacy  in  the  Amo  basin.  Nominally 
subject  to  the  Emperor,  it  became  practically 
an  independent  republic,  much  agitated  by 
internal  quarrels,  but  capable  of  holding  its 
own  against  neighbouring  cities.  Its  chief 
buildings  are  thus  an  age  or  two  later  than 
those  of  Pisa ;  it  did  not  begin  to  produce 
splendid  churches  and  palaces,  in  emulation  of 
those  of  Pisa  and  Siena,  till  about  the  close 
of  the  thirteenth  century.  To  the  same  period 
belongs  the  rise  of  its  literature,  under  Dante, 


>^: 


4  Florence. 

and  its  painting  under  Giotto.  This  epoch  of 
rapid  commercial,  military,  and  artistic  develop- 
ment forms  the  main  glory  of  early  Florence. 

The  fourteenth  century  is  chiefly  interesting 
at  Florence  as  the  period  of  Giottesque  art, 
finding  its  final  crown  in  Fra  Angelico.  With 
the  beginning  of  the  fifteenth,  we  get  the  dawn 
of  the  Renaissance  —  the  age  when  art  set  out 
once  more  to  recover  the  lost  perfection  of 
antique  workmanship.  In  literature,  this  move- 
ment took  the  form  of  humanism  ;  in  architec- 
ture and  sculpture,  it  exhibited  itself  in  the 
persons  of  Alberti,  Ghiberti,  Delia  Robbia,  and 
Donatello ;  in  painting,  it  showed  itself  in  Lippi, 
Botticelli,  Ghirlandajo,  and  Verrocchio.  I  shall 
not  attempt  to  set  forth  here  the  gradual  stages 
by  which  these  arts  advanced  to  the  height  at 
length  attained  by  Leonardo,  Michael  Angelo, 
and  Raphael ;  I  shall  take  it  for  granted  that 
my  readers  will  read  up  such  questions  for 
themselves  in  Kugler  and  Layard  or  other 
high-class  authorities.  Nor  shall  I  endeavour 
to  trace  the  rise  of  the  dynasty  of  the  Medici, 
whose  influence  was  so  great  upon  the  artistic 
expression  of  their  country ;  the  limits  of  space 
which  I  have  imposed  upon  myself   here  ren- 


Origins  of  Florence.  5 

der  such  treatment  impossible.  I  will  rather 
proceed  at  once  to  my  detailed  examination  of 
the  chief  existing  monuments  of  Florence  in 
roughly  chronological  order,  leaving  these  other 
facts  to  exhibit  themselves  piecemeal  in  their 
proper  place,  in  connection  with  the  buildings 
or  pictures  of  the  city.  For  in  Florence  more 
than  elsewhere  I  must  beg  the  reader  to  ex- 
cuse the  needful  brevity  which  the  enormous 
mass  of  noble  works  to  be  explained  in  this 
richest  of  art-cities  inevitably  entails  upon 
me. 

We  start,  then,  with  the  fact  that  up  to 
nearly  the  close  of  the  thirteenth  century 
(1278)  Florence  was  a  comparatively  small  and 
uninteresting  town,  without  any  buildings  of 
importance,  save  the  relatively  insignificant 
Baptistery ;  without  any  great  cathedral,  like 
Pisa  and  Siena ;  without  any  splendid  artistic 
achievement  of  any  kind.  It  consisted  at  that 
period  of  a  labyrinth  of  narrow  streets,  enclos- 
ing huddled  houses  and  tall  towers  of  the 
nobles,  like  the  two  to  be  seen  to  this  day  at 
Bologna.  In  general  aspect,  it  could  not 
greatly  have  differed  from  Albenga  or  San 
Gimignano    in  our  own   time.     But   commerce 


6  Florence. 

was  active ;  wealth  was  increasing ;  and  the 
population  was  seething  with  the  intellectual 
and  artistic  spirit  of  its  Etruscan  ancestry. 
During  the  lifetime  of  Dante,  the  town  began 
to  transform  itself  and  to  prepare  for  becoming 
the  glorious  Florence  of  the  Renaissance  artists. 
It  then  set  about  building  two  immense  and 
beautiful  churches  —  Santa  Croce  and  Santa 
Maria  Novella  —  while,  shortly  after,  it  grew 
to  be  ashamed  of  its  tiny  San  Giovanni  (the 
existing  Baptistery),  and  girded  itself  up  to 
raise  a  superb  Cathedral,  which  should  cast 
into  the  shade  both  the  one  long  since  finished 
at  maritime  Pisa,  and  the  one  then  still  rising 
to  completion  on  the  height  of  Siena. 

Florence  at  that  time  extended  no  further 
than  the  area  known  as  Old  Florence,  extend- 
ing from  the  Ponte  Vecchio  to  the  Cathedral  in 
one  direction,  and  from  the  Ponte  alia  Carraja 
to  the  Grazie  in  the  other.  Outside  the  wall 
lay  a  belt  of  fields  and  gardens,  in  which  one 
or  two  monasteries  had  already  sprung  up. 
But  Italy  at  that  moment  was  filled  with  relig- 
ious enthusiasm  by  the  advent  of  the  Friars, 
both  great  orders  of  whom,  the  Franciscans 
and  the    Dominicans,  had    already    established 


Origins  of  Florence.  7 

themselves  in  the  rising  commercial  city  of 
Florence.  Both  orders  had  acquired  sites  for 
monastic  buildings  in  the  space  outside  the 
walls,  and  soon  began  to  erect  enormous 
churches.  The  Dominicans  came  first,  with 
Santa  Maria  Novella,  the  commencement  of 
which  dates  from  1278;  the  Franciscans  were 
a  little  later  in  the  field,  with  Santa  Croce,  the 
first  stone  not  being  placed  till  1294.  Never- 
theless, though  the  Dominican  church  is  thus 
a  few  years  the  earlier  of  the  two,  I  propose  to 
begin  my  survey  of  the  town  with  its  Francis- 
can rival,  because  the  paintings  and  works  of 
art  of  Santa  Croce  are  older  on  the  whole  than 
those  of  Santa  Maria,  and  because  the  tourist  is 
thus  better  introduced  to  the  origins  and  evolu- 
tion of  Florentine  art. 

Remember,  in  conclusion,  that  Florence  in 
Dante's  day  was  a  small  town,  with  little 
beauty,  and  no  good  building  save  the  (since 
much  embellished)  Baptistery ;  but  that  dur- 
ing Dante's  lifetime  the  foundations  were  laid 
of  Santa  Maria,  Santa  Croce,  and  the  great 
Cathedral.  We  shall  have  to  trace  the  sub- 
sequent development  of  the  town  from  these 
tmAl  beginnings. 


8  Florence. 

The  Roman  name  Florcntia  passed  into  Fio- 
renza  in  mcdiajval  times,  and  is  now  Firenze. 

From  a  very  early  date,  St.  John  the  Baptist 
(to  whom  the  original  Cathedral  was  dedicated) 
has  been  the  patron  saint  of  Florence.  When- 
ever y®u  meet  him  in  Florentine  art,  he  stands 
for  the  city,  as  St.  Mark  does  for  Venice,  or 
the  figure  of  Britannia  for  our  own  ieland. 

St.  Cosimo  and  St.  Damian,  the  holy  doc- 
tors, and  therefore  patron  saints  of  the  Medici 
family,  and  especially  of  Cosimo  de'  Medici, 
also  meet  us  at  every  turn.  They  represent 
the  ruling  family,  and  may  be  recognised  by 
their  red  robes  and  caps,  and  their  surgical 
instruments.  Saint  Lawrence  is  also  a  great 
Medici  saint :  in  early  works,  he  represents 
Lorenzo  de'  Medici  the  elder,  the  brother  of 
Cosimo  (i 395-1440);  in  later  ones,  he  stands 
for  Lorenzo  the  Magnificent  (1449-92).  Ob- 
serve for  yourself  which  of  the  two  the  dates 
in  each  case  show  to  be  intended. 

Santa  Reparata,  the  old  patroness  of  the  city, 
and  San  Zanobi,  its  sainted  bishop,  are  also 
frequent  objects  in  early  painting  and  sculpture 
in  Florence. 

If  you  visit  the  various  objects  in  the  order 


Origins  of  Florence.  9 

here  enumerated,  you  will  get  a  better  idea  of 
the  development  of  Florence  and  of  Florentine 
art  than  you  could  possibly  do  by  haphazard 
sightseeing.  Also,  you  will  find  the  eariier 
steps  explain  the  later.  But  there  can  be  no 
harm  in  examining  the  picture-galleries  side  by 
side  with  the  churches,  especially  if  dark  or  wet 
days  confine  you ;  provided  always  you  begin 
with  the  Belle  Arti,  which  contains  the  ABC 
of  Tuscan  and  Umbrian  panel-painting.  From 
it  you  can  go  on  to  the  Uffizi  and  the  Pitti. 


CHAPTER  II. 

SANTA  CROCK  AND  THE  FRANCISCAN  QUARTER. 

ST.  FRANCIS  of  Assisi,  the  Apostle  of  the 
Poor,  died  in  1226,  and  was  promptly  canon- 
ised in  1 228.  His  followers  spread  at  once  over 
every  part  of  Italy,  choosing  in  each  town  the 
poorest  quarters,  and  ministering  to  the  spir- 
itual and  temporal  needs  of  the  lowest  classes. 
They  were  representatives  of  Works,  as  the 
Dominicans  of  Faith.  In  1 294,  —  some  six- 
teen years  later  than  the  Dominicans  at  Santa 
Maria  Novella,  —  they  began  to  erect  a  church 
at  Florence,  outside  the  walls,  on  the  poorer  side 
of  the  city,  close  by  their  monastery.  It  was 
dedicated  under  the  name  of  Santa  Croce,  and 
shortly  adorned  by  Giotto  and  his  pupils  with 
beautiful  frescoes,  the  finest  works  of  art  yet 
seen  in  Italy.  Two  things  must  thus  be  spe- 
cially borne  in  mind  about  this  church  :  it  is  a 
church  of  the   Holy  Cross,   whose  image  and 


Santa  Croce.  1 1 

history  meet  one  in  it  at  every  turn  ;  and  it  is  a 
Franciscan  church,  and  therefore  it  is  largely 
occupied  with  the  glorification  of  St.  Francis 
and  of  the  order  he  founded.  Their  coarse 
brown  robes  appear  in  many  of  the  pictures. 
Look  out  for  their  great  saints,  Bernardino  of 
Siena,  Louis  of  Toulouse,  Antony  of  Padua,  etc. 
The  Franciscans  were  a  body  of  popular 
preachers.  Hence,  in  their  church,  the  im- 
mense nave,  which  includes  the  pulpit,  was 
especially  important.  It  was  designed  to  ac- 
commodate large  numbers  of  hearers.  But  its 
width  and  empty  spaces  also  gave  free  room 
for  many  burials  ;  whence  Santa  Croce  became 
one  of  the  principal  churches  in  Florence  for 
interments.  In  time,  it  grew  to  be  the  recog- 
nised Pantheon  or  "  Westminster  Abbey "  of 
the  town,  where  men  of  literary,  scientific,  or 
political  importance  were  laid  to  rest :  and  its 
numerous  monuments  have  thus  a  sentimental 
interest  for  those  who  care  for  such  memorials. 
But  it  would  be  a  great  mistake  to  regard  Santa 
Croce  entirely  or  even  mainly  from  the  point  of 
view  of  a  national  Walhalla,  as  is  too  often 
done  by  tourists.  Its  real  interest  lies  rather 
in  the  two  points  noted  above,  and  in  the  admi- 


12  Florence. 

rablc  works  of  art  with  which  it  is  so  abundantly 
supplied,  especially  in  the  chapels  of  the  various 
great  families  who  favoured  the  order. 

The  general  design  is  by  Arnolfo  di  Cambio, 
who  at  the  same  time  was  employed  in  designing 
the  Cathedral.  Begun,  1294;  finished,  1442. 
It  is  the  best  museum  for  the  Florentine  art  of 

^^^.the  fourteenth  century. 

See  it  by  morning  light.     Choose  a  bright 

" '  morning ;  go  past  the  Cathedral  and  the  Signo- 
ria,  and  then  dive  down  the  narrow  Borgo  de' 
Greci,  through  the  tangled  streets  of  the  Old 
Town,  —  which  note  as  characteristic,  —  till 
you  arrive  at  the  Piazza  Santa  Croce.  In  the 
centre  of  the  square  stands  a  modern  statue  of 
Dante,  turning  his  back  on  the  church  which 
he  never  really  saw.  Its  walls  were  only  rising 
a  few  feet  high  when  the  poet  was  banished 
from  Florence. 

Proceed  first  to  the  north  side  of  the  church, 
to  view  the  exterior  of  the  mediaeval  building, 
now  much  obscured  by  the  later  Renaissance 
loggia.  Little  of  the  primitive  design  is  at 
present  visible.  Notice  the  bare  brick  archi- 
tecture, intended  to  be  later  incased  in  marble. 
Observe  also  the  smallness,   infrequency,   and 


Santa  Croce.  13 

height  from  the  ground  of  the  windows,  and 
the  extreme  difference  in  this  respect  from  the 
vast  stained-glass-containing  arches  of  northern 
Gothic.  Here,  the  walls  themselves  support 
most  of  the  weight,  instead  of  leaving  it  to  but- 
tresses as  in  France  and  England.  This  wealth 
of  wall,  however,  with  the  smallness  of  the  win- 
dows, permits  of  the  large  development  of  fresco- 
painting  within,  which  is  characteristic  of  Italian 
buildings  :  it  also  allows  room  for  the  numerous 
monuments.  Note  at  the  same  time  the  short 
transept  and  small  rose  window. 

Now,  go  around  again  to  the  front.     The  fa- 
cade, long  left  unfinished,  was  encrusted  with   ^v-  ^^"-*^ 
marble   in    1857,   by   the    munificence   of    Mr. 
Sloane,    an    Englishman,    after   a    Renaissance 
design,  said  to  be  by  Cronaca,  modified  by  the 
modern   architect,   N.    Matas.     The   nave   and  ^^^ 
aisles  have  separate  gables.     Notice,  through-  o-s^-**; 
out,  the  frequent  occurrence  of  the  Holy  Cross,     ^^ 
sustained  over  the  main  gable  by  two  angels ; 
flanked,  on  the  two  lesser  gables,  by  the  Alpha 
and  Omega ;  and  reappearing  many  times  else- 
where in  the  general  decoration.     The  modern 
reliefs  over  the  doors  represent,  on  the  left,  the 
Discovery  of  the  True   Cross  (Sarrocchi)  ;    in 


14  Florence. 

the  centre,  the  Adoration  of  the  Cross  (Dupr^) ; 
on  the  right,  the  Cross  appearing  in  Heaven  to 
Constantine,  and  so  imposing  itself  as  the  sym- 
bol of  the  official  religion  of  the  Roman  Empire, 
(Zucchi).  Observe  the  fine  Renaissance  work 
of  the  doorways,  with  the  Alpha  and  Omega 
again  displayed.  High  up  on  the  front,  over 
the  rose  window,  is  the  monogram  IHS,  intro- 
duced by  the  great  Franciscan  saint,  San 
Bernardino  di  Siena.  His  original  example 
is  preserved  within.  The  right  side  of  the 
church  is  enclosed  by  the  former  buildings  of 
the  monastery. 

Now,  enter  the  church.  The  interior  is  at 
first  sight  bare  and  simple  to  the  degree  of  posi- 
tive disappointment.  The  Franciscans,  vowed 
to  poverty,  were  not  a  wealthy  body.  Begin  by 
walking  up  the  centre  of  the  nave,  to  observe 
the  simple  aisles  (with  no  side  chapels),  the 
short  transepts,  the  impressive  but  by  no  means 
large  Gothic  choir  (of  Arnolfo's  period),  and  the 
ten  chapels,  built  out  from  the  transept,  as  in 
continuation  or  doubling  of  the  choir,  all  of 
which  are  characteristic  features  of  this  age 
of  Italian  Gothic.  Each  of  these  chapels  was 
the  property  of  some  great   mediaeval  family, 


Santa  Croce. 


15 


such  as  the  Bardi  or  the  Peruzzi.  Observe 
also  the  plain  barn-like  wooden  roof,  so  differ- 
ent from  the  beautiful  stone  vaulting  of  northern 
cathedrals.  Architecturally,  this  very  simple 
interior  is  severe  but  interesting. 

Now,  go  down  again  to  the  door  by  which 
you  entered,  and  proceed  along  the  right  aisle, 
to  observe  the  various  objects  it  contains  in 
detail. 

I  will  dwell  upon  the  monuments  very 
briefly,  as  mere  excrescences  upon  the  original 
building.  ->^w-*-^ 

Michael  Angelo  Buonarotti  is  buried  below   ^^^^^lis,  A  ***** 
on  the  right;  died  at  Rome,  1564.    The  general   fi.^-^*-'-^^' 
design  of  the  monument  is  by  Vasari ;  bust  by    ^'^  ,  ^..-^^ 
Battista    Lorenzi ;    figure   of   Architecture   by 
Giovanni  dell'    Opera ;    Painting   by    Lorenzi ; 
Sculpture  by  Cioli.     Pretentious  and  feeble. 

By  the  pillar  on  the  left,  a  *  Madonna  and 
Child  (Madonna  del  Latte),  part  of  the  monu- 
ment of  Francesco  Nori,  by  Antonio  Rossellino, 
fifteenth  century,  is  extremely  beautiful,  /V-**^  ^IIL^^- 

On  the  right  is  Dante's  cenotaph.     The  poet   .^*^    ^v^ 
is  buried  at  Ravenna.  c^.-^  <»- 

To  the  left,  on  a  column,  stands  the  famous    _.^,s^ '•*'**^ ' 
*  pulpit,  by  Benedetto  da  Majano,  said  to  be  the 


1 6  Florence. 

most  beautiful  in  Italy,  though  far  inferior  in 
effect  to  that  of  Niccolo  Pisano  at  Pisa.  Its 
supports  are  of  delicate  Renaissance  work. 
The  subjects  of  the  reliefs  (Franciscan,  of 
course)  are,  the  Confirmation  of  the  Franciscan 
order,  the  burning  of  immoral  books,  St. 
Francis  receiving  the  Stigmata,  Death  of  St. 
Francis,  and  Martyrdom  of  Franciscan  Saints. 
Notice  the  hand  holding  out  the  Holy  Cross 
from  the  pulpit,  here  more  appropriate  than 
elsewhere.  The  statuettes  beneath  represent 
Faith,  Hope,  Charity,  Courage,  and  Justice. 

On  the  right,  opposite  it,  is  the  monument  of 
Alfieri,  erected  for  his  mistress,  the  Countess  of 
Albany,  by  Canova. 

Here  also  are  memorials  of  Macchiavelli,  died 
1527:  monument  erected  in  1787;  and  Lanzi, 
the  historian  of  art. 

A  fresco,  by  Andrea  del  Castagno,  with  St. 

John  the  Baptist,  as  patron  saint  of  Florence, 

and   St.    Francis,  as  representing    the   present 

^    v>^  ^^' ■"  church  and  order,  alone  now  remains  of  all  the 

,.6^/k->^^    frescoes  of  the  nave,  cleared  away  by  the  Goths 

^;^^'*\V'.^,  ^  of  the  seventeenth  century. 

<r-^tl^'<^^        Near  it  is  an  exquisite  **  Annunciation  by 


b^. 


qo^^  ^^       Donatello,  of  pietra  serena,  gilt,  in  a  charming 


Santa  Croce.  17 

Renaissance  frame  ;  perhaps  the  most  beautiful 
object  in  the  whole  church.  Notice  the  speak- 
ing positions  of  the  angel  and  Our  Lady,  the 
usual  book  and  prie-dieu,  and  the  exquisite 
shrinking  timidity  of  the  Madonna's  attitude. 
This  is  worth  all  the  tombs  put  together. 

Over  the  door  is  the  Meeting  of  St.  Francis 
and  St.  Dominic.  Compare  with  the  Delia 
Robbia  at  the  Hospital  of  San  Paolo,  near 
Santa  Maria  Novella. 

A  beautiful  Renaissance  tomb  of  Leonardo 
Bruni,  by  Bernardo  Rossellino,  presents  a  model 
afterward  much  imitated,  especially  at  Venice. 

Turn  the  corner  into  the  right  transept.  The 
first  chapel  on  your  right,  that  of  the  Holy 
Sacrament,  is  covered  with  much-defaced  fres- 
coes by  Agnolo  Gaddi.  Recollect  that  this 
church  is  the  great  place  for  studying  the  early 
Giottesque  fresco-painters :  first,  Giotto ;  then 
his  pupil,  Taddeo  Gaddi ;  next,  Taddeo's  pupils, 
Agnolo  Gaddi  and  Giovanni  da  Milano.  (See 
Kugler.)  On  the  right  wall  are  represented 
the  lives  of  St.  Nicholas  (first  bay)  and  St.  John 
the  Baptist  (second  bay).  The  most  distinct  of 
these  frescoes  are,  first,  St.  Nicholas  appearing 
in  a  storm  at  sea  (or,  restoring  the  nobleman 


1 8  Florence. 

his  drowned  son) ;  and,  second,  the  Baptism  of 
Christ ;  but  some  of  the  others  can  be  faintly 
recognised,  as  at  the  top,  the  figure  of  St. 
Nicholas  throwing  the  three  purses  of  gold 
as  dowries  into  the  window  of  the  poor  noble- 
man with  three  starving  daughters.  (See  Mrs. 
Jameson.)  The  walls  here  show  well  the  way 
in  which  these  frescoes  were  defaced  by  later 
additions.  On  the  left  wall  are  frescoed  the 
lives  of  St.  John  the  Evangelist  and  St.  Anthony, 
also  by  Agnolo  Gaddi.  The  scene  of  the  Temp- 
tation of  St.  Anthony  is  the  best  preserved  of 
these.  Against  the  pilasters  stand  life-sized 
terra-cotta  statues  of  our  Franciscan  lights,  St. 
Francis  and  St.  Bernardino,  by  the  Delia 
Robbia.  On  the  left  wall  is  the  monument  of 
the  Countess  of  Albany. 

At  the  end  wall  of  the  right  transept  is  a 
good  Gothic  monument  of  the  fourteenth  cen- 
tury with  reliefs  of  Christ,  the  Madonna  and 
St.  John,  and  a  Madonna  and  Child  in  fresco 
above,  and  exquisite  little  *  sculptured  angels  of 
the  school  of  Pisa.  The  chapel  of  the  right 
transept,  known  as  the  Cappella  Baroncelli, 
contains  admirable  **  frescoes  from  the  life  of 
the  Virgin,  by  Taddeo   Gaddi.     These    should 


Santa  Croce.  ig 

all  be  carefully  studied.  On  the  left  wall,  be- 
ginning from  above  (as  always  here),  in  the  first 
tier,  Joachim  is  expelled  by  the  High  Priest 
from  the  temple,  his  offering  being  rejected 
because  he  is  childless ;  watching  his  flocks,  he 
perceives  the  angel  who  foretells  the  birth  of  ^^ 

the  Virgin.     Notice  the  conventional  symbolical  3"-^^^^ 
open  temple.     (Read  the  legend  later  in  Mrs. 
Jameson.)     In  the  second  tier,   on  the  left,  is 
the  meeting  of  Joachim  and  Anna  at  the  Golden  ,>-. 
Gate ;  the  servant  behind  carries,  as  usual,  the 
rejected  offering.     On  the  right  is  the  Birth  of  ''^^' 
the  Virgin,  the  child,  as  always,  being  washed 


>*- 


in    the    foreground.     Observe  closely  the  con-  '^'^^^^"'^^^ 


ventional  arrangement,  which  will  reappear  in 
later  pictures.  In  the  third  tier,  on  the  left,  is 
the  Presentation  of  the  Virgin  in  the  Temple 
by  St.  Joachim  and  St.  Anna ;  the  young 
Madonna  stands  on  a  single  flight  of  steps 
(wrongly  restored  above).  Carefully  study  all 
the  details  of  this  fresco,  with  its  Romanesque 
or  early  Gothic  architecture  and  round  arches, 
for  comparison  with  the  Giovanni  da  Milano  of 
the  same  subject,  which  we  will  see  later.  (At 
three  years  old,  the  Virgin  was  consecrated 
to  the  service  of  God  by  Joachim  and  Anna.)   On 


a>S^^ 


20  Florence. 

the  right  is  the  Marriage  of  the  Virgin  ;  the 
High  Priest  joining  her  hand  to  Joseph's,  whose 
staff  has  budded,  in  accordance  with  the  legend, 
(All  were  placed  in  the  Holy  of  Holies,  as  in 
the  case  of  Aaron ;  and  he  whose  staff  budded 
was  to  wed  the  Virgin.)  Observe  the  disap- 
pointed suitors  breaking  their  staffs,  etc.  All 
the  incidents  are  stereotyped.  This  picture 
should  be  carefully  noted  for  comparison  both 
with  the  Giovanni  da  Milano  here,  and  with 
other  representations  of  the  Sposalizio  else- 
where {e.  g.  the  Raphael  at  Milan).  I  strongly 
advise  very  long  and  close  study  of  these  fres- 
coes (some  of  which  are  imitated  directly  from 
Giotto's  in  the  Madonna  dell'  Arena  at  Padua), 
for  comparison  both  with  those  originals  and 
with  the  later  imitations  by  Giovanni  da  Milano. 
They  cast  a  flood  of  light  upon  the  history  and 
evolution  of  art.  Each  figure  and  detail  will 
help  you  to  understand  other  pictures  you  will 
see  hereafter.  It  is  a  good  plan  to  get  photo- 
graphs of  the  series,  published  by  Alinari  in  the 
Via  Tornabuoni,  and  look  at  the  one  series 
(Gaddi's),  with  the  photographs  of  the  other 
(Giovanni's)  in  your  hands.  You  cannot  over- 
estimate  the  importance   of    such    comparison. 


Santa  Croce.  21 

In  the  two  Presentations,  for  example,  almost 
every  group  is  reproduced  exactly. 

On  the  window  wall,  above,  is  an  Annunci- 
ation on  the  left ;  on  the  right  is  a  Visitation ; 
notice  the  loggia  in  the  background.  These 
are  also  most  illustrative  compositions.  In  the 
second  tier,  on  the  left,  the  angel  appears  to  the 
shepherds ;  on  the  right  is  the  Nativity.  In 
the  third  tier,  on  the  left,  the  Star  appears  to  the 
Wise  Men ;  on  the  right  is  the  Adoration  of 
the  Magi.  Notice  the  ages  of  the  Three  Kings, 
representing,  as  always,  the  three  ages  of  man, 
and  also  the  three  old  continents — Europe,  Asia, 
Africa.  Observe  the  very  Giottesque  Madonna 
and  Child.  This  fresco  should  be  compared 
with  the  Giotto  at  Padua. 

On  the  right  wall  is  a  fresco  by  Mainardi : 
the  Madonna  ascending  in  a  mandorla,  escorted 
by  angels  from  her  tomb,  which  is  filled  with 
roses,  drops  the  Sacred  Girdle  (Sacra  Cintola), 
now  preserved  at  Prato,  to  St.  Thomas  below. 
(Go  to  Prato  to  see  it,  in  order  to  understand 
the  numerous  Sacra  Cintola  pictures  in  Flor- 
ence ;  and  read  in  Mrs.  Jameson,  under  head, 
St.  Thomas.) 

To  the  left  of  this  chapel  is  the  door  leading 


22  Florence. 

to  the  Sacristy.  At  the  end  of  the  corridor  is 
the  Cappella  Medici,  erected  by  Michelozzo  for 
Cosimo  de'  Medici.  It  contains  many  beau- 
tiful objects.  On  the  right  wall  is  a  *  marble 
ciborium,  by  Mino  da  Fiesole,  with  charming 
angels  and  an  inscription  :  "  This  is  the  living 
bread  which  came  down  from  heaven  ; "  also  a 
Giottesque  Coronation  of  the  Virgin  with  four 
saints  —  conspicuous  among  them,  Peter  and 
Lawrence.  Over  the  tomb  of  Lombardi  are  a 
beautiful  *  Madonna  and  angels  of  the  school  of 
Donatello.  On  the  end  wall  is  our  patron,  St. 
Francis  with  the  Stigmata.  Over  the  altar  is 
an  exquisite  **  terra-cotta  of  the  school  of  Delia 
Robbia,  attributed  to  Luca,  a  Madonna  being 
crowned  by  angels,  and  attended  on  the  left  by 
St.  John  the  Baptist  as  representing  Florence, 
and  on  the  right  by  St.  Lawrence  (for  Lorenzo  de' 
Medici),  St.  Francis  (for  this  Franciscan  church), 
and  St.  Louis  of  Toulouse,  the  great  Franciscan 
bishop.  On  the  left  wall  is  a  famous  Corona- 
tion of  the  Virgin,  by  Giotto,  tender  in  execu- 
tion, but  in  his  stiffest  panel  style.  It  is 
regarded  as  a  touchstone  for  his  critics.  Very 
graceful  faces  ;  crowded  composition.  Beyond 
it,  notice  the  Madonna  and  Child  by  the  Delia 


Santa  Croce. 


23 


Robbia,  and,  over  the  doorway,  a  Piet^,  by  the 
same,  in  a  frame  of  fruit.  Notice  these  lovely 
late  fifteenth  century  majolica  objects,  frequent 
in  Florence.  All  the  works  in  this  very  Fran- 
ciscan chapel  of  the  Medici,  indeed,  deserve 
close  inspection.  Notice  their  coat  of  arms 
(the  pills)  over  the  arch  of  the  altar  and  else- 
where.    It  will  meet  you  often  in  Florence. 


CHAPTER    III. 

THE    SACRISTY    AND    THE    CHAPELS. 

RETURNING  along  the  corridor,  to  the 
right,  you  come  to  the  Sacristy,  contain- 
ing many  curious  early  works,  all  of  which  should 
be  noted,  such  as  the  Crucifix  bowing  to  San 
Giovanni  Gualberto  as  he  pardons  the  murderer 
of  his  brother,  in  the  predella  of  an  altar-piece 
by  Orcagna,  to  the  left  as  you  enter.  The  right 
wall  has  frescoes  of  the  Passion,  by  Niccolo 
di  Pietro  Gerini,  of  which  the  Resurrection, 
with  its  sleeping  soldiers,  mandorla  (or  almond- 
shaped  glory),  and  red  cross  on  white  banner, 
is  highly  typical.  Study  all  these  for  their 
conventional  features.  Notice  also  the  fine 
roof,  and  the  intarsia-work  of  the  seats  and 
boxes. 

A  beautiful  iron  railing  of  1371  separates 
the  Sacristy  from  the  Cappella  Rinuccini,  con- 
taining on  the  left  wall,  *  frescoes  of  the  life  of 

the  Madonna  by  Giovanni  da  Milano,  the  close 
24 


The  Sacristy  and  the  Chapels.       25 

similarity  of  which  to  those  by  his  master,  Tad- 
deo  Gaddi,  already  observed,  should  be  carefully 
noticed.  The  subjects  are  the  same  ;  the  treat- 
ment is  very  slightly  varied,  but  pointed  arches 
replace  the  round  ones.  At  the  summit  is  Joa- 
chim expelled  from  the  Temple.  In  the  second 
tier,  on  the  left,  the  angel  appears  to  Joachim,  and 
Joachim  and  Anna  meet  at  the  Golden  Gate  ;  on 
the  right  is  the  Birth  of  the  Virgin ;  study  the  -ivj^^'^^'C^ 
attitudes  and  note  the  servant  bringing  in  the 
roast  chicken,  St.  Anne  washing  her  hands,  etc., 
of  all  which  motives  (older  by  centuries)  imita- 
tions occur  in  such  later  representations  of  the 
same  scene  as  Ghirlandajo's  at  Santa  Maria 
Novella.  In  the  third  tier  on  the  left,  is  the 
Presentation  in  the  Temple,  with  Gothic  instead 
of  Romanesque  arcade  and  the  steps  indicating 
how  those  in  the  Taddeo  Gaddi  originally  ran. 
(Do  not  omit  to  compare  these  two  by  means 
of  photographs.)  On  the  right  is  the  Marriage 
of  the  Virgin.  These  two  last  are  specially 
favourable  examples  for  observing  the  close  way 
in  which  Giottesque  painters  reproduced  one 
another's  motives,  I  advise  you  to  spend  some 
hours  at  least  in  studying  and  comparing  the 
frescoes  of  this  chapel  and  the  Baroncelli. 


26  Florence. 

On  the  right  wall  are  scenes  from  the  life 
of  Mary  Magdalen,  to  whom  this  chapel  is  dedi- 
cated. At  the  summit  she  washes  the  feet  of 
Christ ;  notice  the  seven  devils  escaping  from 
the  roof.  In  the  second  tier,  on  the  left,  is 
Christ  in  the  house  of  Mary  and  Martha ; 
observe  Martha's  quaintly  speaking  attitude ; 
on  the  right  is  the  Resurrection  of  Lazarus. 
In  the  third  tier,  on  the  left,  are  Christ  and  the 
Magdalen  in  the  garden,  with  the  women  and 
angels  at  the  tomb ;  on  the  right  is  a  miracle 
of  the  Magdalen  in  Provence  (see  Mrs.  Jame- 
son) :  she  restores  to  life  the  wife  of  a  noble- 
man of  Marseilles  —  a  very  long  story.  This 
fresco  is  to  my  mind  obviously  by  another 
hand :  it  lacks  the  simplicity  and  force  of  Gio- 
vanni. Observe  also  the  fine  altar-piece,  with 
the  Madonna  and  Child,  flanked  by  St.  John  the 
Baptist  and  St.  Francis,  as  representing  Flor- 
ence and  the  Franciscan  order ;  then,  St.  John 
the  Evangelist,  and  Mary  Magdalen,  patroness 
of  the  chapel ;  and,  in  the  predella,  scenes 
from  their  lives. 

Emerge  from  the  Sacristy.  Now  take  the 
chapels  in  line  with  the  choir.  The  first  chapel 
contains  faded  frescoes,  said  to  be  of  the  age 


The  Sacristy  and  the  Chapels.       27 

of  Cimabue  (more  hkely  by  a  pupil  of  Giotto), 
representing  the  combat  of  St.  Michael  and  the 
Devils,  which  seem  to  have  suggested  the  ad- 
mirable Spinello  Aretino  of  the  same  subject  in 
the  National  Gallery  in  London. 

The  second  chapel  is  uninteresting ;  the  third 
chapel,  of  the  Bonaparte  family,  tawdry. 

The  fourth  chapel,  the  Cappella  Peruzzi 
(called,  like  the  others,  after  the  family  of  the 
owners),  contains  the  famous  frescoes  by 
Giotto,  from  the  lives  of  the  two  St.  Johns. 
On  the  left  wall  is  the  life  of  St.  John  the  Bap- 
tist, the  patron  of  Florence.  In  the  upper  tier, 
the  angel  appears  to  Zacharias.  In  the  second 
tier,  on  the  right,  is  the  Birth  of  the  Baptist ; 
on  the  left  he  is  presented  to  Zacharias,  who 
writes  down  "  His  name  is  John."  In  the  third 
tier,  Herodias's  daughter  receives  his  head,  and 
presents  it  to  her  mother.  The  attitude  of  the 
player,  and  the  arrangement  of  the  king's  table 
reappear  in  many  later  compositions.  Look 
out  for  them  hereafter.  On  the  right  wall  is 
the  life  of  St.  John  the  Evangelist.  At  the 
summit  he  has  the  vision  of  the  Apocalypse  in 
a  quaintly  symbolical  isle  of  Patmos.  In  the 
second    tier  he    raises    Drusiana,  an    admirable 


28  Florence. 

opportunity  for  the  study  of  Giotto's  style  of 
drapery.  The  St.  John  in  this  fresco  already 
contains  premonitions  of  Masaccio  and  even  of 
Raphael.  In  the  third  tier,  he  is  taken  up 
into  heaven  by  Christ  in  clouds,  accompanied 
by  the  Patriarchs  :  a  magnificent  dramatic  com- 
position. These  frescoes,  which  represent  the 
maturest  work  of  Giotto's  manhood,  should  be 
closely  studied  in  every  detail.  Spend  many 
hours  over  them.  Though  far  less  attractive 
than  his  naive  earlier  work  in  the  Madonna 
deir  Arena  at  Padua,  they  yet  display  greater 
mastery  of  drawing  and  freedom  of  movement. 
Do  not  let  one  visit  suffice  for  them.  Compare 
them  again  and  again  with  photographs  from 
the  Arena,  and  look  out  for  imitations  by  later 
painters.  Do  not  overlook  the  altar-piece,  by 
Andrea  del  Sarto.  It  represents  the  two  great 
plague-saints  —  San  Rocco  and  St.  Sebastian. 
The  Franciscans  were  great  nursers  of  the 
plague-stricken,  and  this  altar  was  one  where 
vows  were  offered  for  recovery. 

The  fifth  chapel,  the  Cappella  Bardi,  contains 
other  frescoes,  also  by  Giotto  (unfortunately 
over-restored),  of  the  life  of  St.  Francis. 
These  were  once  the  chief  ornament   of   this 


The  Sacristy  and  the  Chapels.        29 

Franciscan   church.     On  the  left  wall,  at  the 
summit,  he  divests  himself  of  his  clothing  and 
worldly  goods,  and  leaves  his  father's  house,  to 
be  the  spouse  of  Poverty.      In  the  second  tier 
he  appears  suddenly  at  Aries,  to  Sant'  Antonio 
of  Padua,  while  preaching.      (Read  up  all  these 
subjects  in   Mrs.  Jameson's  Monastic  Orders.) 
In  the  third  is  the   Death  of  St.  Francis ;  his 
soul  is   seen    conveyed    by  angels    to    heaven. 
This  picture,  which  formed  the  model  for  many 
subsequently  saintly  obsequies,  should  be  com- 
pared at  once  with  the  Ghirlandajo  of  the  same  '^'\^'^  *-^'  -^ 
theme  in  the  Santa  Trinita  in  P"lorence.     On  ^^■*'v«''^ 
the  right,  at  the  summit,  St.  Francis  receives  .^^'^<^^~'^~^ 
the  confirmation  of  the  rules  of  his  order  from   ,„.>^  ^    >^' 
Pope  Innocent  III.    In  the  second  tier  is  his  trial  •^>''=*^*- ' 
of  faith  before  the  Sultan.     In  the  third  tier  are    ' 
his  miracles  (appearance  to  Guido  d'Assisi:  a 
dying    brother    sees    his    soul    leaping   toward 
heaven).     Consult  parts  I.  and  III.  of  Ruskin's 
"  Mornings  in    Florence,"    on    the    subject    of 
these  frescoes,  but  do  not  be  led  away  by  his        J^"^'  -  • 
too   positive    manner.     On  the  ceiling  are  St.  ""^^-V*^ 
Francis  in  Glory,  and  his  three  great  virtues,^ 


Poverty,    Chastity,   Obedience.     Note  also  the  J-^ 
figures  of  the  chief  Franciscan  luminaries,  St.    '^ 


>^ 


-T" 


■  Xsr^ 


30  Florence. 

Louis  of  Toulouse,  St.  Louis  of  France,  St. 
Elizabeth  of  Hungary,  and  St.  Clara  (foundress 
of  the  Franciscan  female  order  of  Poor  Clares), 
round  the  windows.  The  whole  is  thus  an  epic 
of  Franciscanism.  Study  it  fully.  The  curious 
ancient  altar-piece  of  this  chapel  deserves  atten- 
tion. 

On  the  archway,  above  this  chapel,  outside, 
is  St.  Francis  receiving  the  Stigmata,  by  Giotto 
—  resembling  the  altar-piece  of  the  same  sub- 
ject in  the  Louvre,  painted  by  Giotto  for  San 
Francesco  at  Pisa.  I  recommend  long  obser- 
vation of  all  these  Giottos.  Go  later  to  Assisi, 
the  town  of  St.  Francis,  and  compare  them 
with  the  Giottos  in  the  parent  monastery.  The 
choir,  which  is,  of  course,  the  central  point  of 
the  whole  church,  usually  bears  reference  to 
the  name  and  dedication  :  here,  it  is  naturally 
adorned  by  the  History  of  the  Holy  Cross, 
depicted  in  fresco  on  its  walls  by  Agnolo 
Gaddi.  These  frescoes,  however,  are  so  ill 
seen,  owing  to  the  railing,  and  the  obstacles 
placed  in  the  way  of  entering,  that  I  will  merely 
give  a  brief  outline  of  their  wild  legend  as  here 
represented. 

On  the  right  wall,  in  the   first  fresco,  Seth 


The  Sacristy  and  the  Chapels.       31 

receives  from  an  angel  a  branch  from  the  Tree 
of  Knowledge.  He  is  told  to  plant  it  in  Adam's 
heart,  with  an  admonition  that  when  it  bears 
fruit,  Adam  will  be  restored  to  life  again. 

In  the  second  fresco,  the  Tree,  cut  down  by 
Solomon  for  use  in  the  Temple,  and  found  un- 
suitable, is  seen  in  passing  by  the  Queen  of 
Sheba,  who  beholds  a  vision  of  the  crucified 
Saviour,  and  falls  down  to  worship  it. 

In  the  third,  the  Tree  is  found  floating  in  the 
Pool  of  Bethesda,  and  is  taken  out  to  be  used 
as  the  Cross  of  the  Saviour. 

In  the  fourth,  the  Holy  Cross,  buried  for 
three  hundred  years,  is  discovered  by  the  Em- 
press Helena,  who  distinguishes  it  by  its  powers 
in  healing  sickness. 

On  the  left  wall,  in  the  fifth  fresco,  Helena 
carries  the  Holy  Cross  in  procession  amid 
public  rejoicing. 

In  the  sixth,  Chosroes,  King  of  Persia,  takes 
Jerusalem,  and  carries  off  a  part  of  the  Holy 
Cross  which  was  still  preserved  there. 

In  the  seventh,  Heraclius,  Emperor  of  the 
East,  conquers  and  beheads  Chosroes,  and  res- 
cues the  Holy  Cross  from  the  heathen. 

In    the    eighth,  Heraclius   brings   the    Holy 


32  Florence. 

Cross  in  triumph  to  Jerusalem,  and  carries  it 
barefoot  on  his  shoulders  into  the  city. 

In  the  first  chapel,  beyond  the  choir,  is  an 
interesting  altar-piece. 

The  second  and  third  chapels  contain  nothing 
noteworthy. 

The  fourth  chapel,  of  St.  Stephen  and  St. 
Lawrence,  contains  frescoes  by  Bernardo  Daddi, 
an  early  Giottesque.  On  the  left  are  the  Trial 
and  Martyrdom  of  St.  Stephen,  on  the  right 
the  Martyrdom  of  St.  Lawrence,  with  the  usual 
boy  blowing  the  bellows.  The  scene  is  caught 
at  the  famous  moment  when  the  Saint  is  say- 
ing, "  Turn  me  over ;  this  side  is  done."  (Jam 
versa :  assatus  est.)  To  the  left  and  right  of 
the  windows  are  St.  Stephen  and  St.  Lawrence, 
with  their  palms  of  martyrdom.  (These  two 
deacon  saints  are  usually  painted  in  couples. 
They  similarly  share  Fra  Angelico's  chapel  in 
the  Vatican.)  Over  the  altar  is  a  somewhat  vul- 
garly coloured  relief  of  the  Madonna  and  Child, 
with  angels ;  St.  John  the  Evangelist,  holding 
his  symbol,  the  cup  and  serpent,  and  St.  Mary 
Magdalen,  with  the  alabaster  box  of  ointment. 
Notice  the  Annunciation  and  the  little  saints  in 
the    predella  of  this  work.     Their  order    from 


The  Sacristy  and  the  Chapels.       23 

left  to  right  is  :  St.  Dominic  with  his  star ;  St. 
Lucy  with  her  eyes  in  a  dish  ;  St.  Catherine  of 
Alexandria  with  her  wheel ;  and  St.  Thomas 
Aquinas  with  his  open  book.  A  Dominican 
work  in  this  Franciscan  church,  placed  here,  no 
doubt,  by  some  Dominican-minded  donor. 

The  fifth  chapel,  of  St.  Sylvester,  contains 
frescoes  by  Giottino  or  Maso  di  Banco.  On 
the  left,  over  the  tomb  of  Uberto  de'  Bardi,  is 
the  Last  Judgment,  with  the  dead  man  rising 
solitary.  Over  the  next  tomb,  —  this  is  more 
probably  by  Taddeo  Gaddi,  —  the  Entombment, 
all  the  attitudes  in  which  are  characteristically 
Giottesque,  and  should  be  carefully  noted.  On 
the  right  wall  is  the  Conversion  of  Constantine, 
and  the  miracles  of  St.  Sylvester,  greatly  faded 
(exorcism  of  a  dragon,  etc.).  Notice,  in  the 
lower  tier,  two  dead  men  restored  to  life, 
naively  represented  in  the  usual  fashion,  the 
dead  bodies  below,  the  living  rising  out  of  them. 
Similar  scenes  will  meet  you  elsewhere. 

The  end  chapel  of  the  left  transept  contains 
no  work  of  importance.  Observe  from  its  steps 
the  general  view  of  the  building. 

In  the  chapel  beyond  transept  are  modern 
monuments  and  paintings. 


34  Florence. 

Return  by  the  left  aisle,  passing  a  monument 
of  Raphael  Morghen,  and  a  **  monument  of 
Carlo  Marsuppini,  by  Desiderio  da  Settignano, 
an  exquisite  specimen  of  Renaissance  work, 
with  lovely  decorative  framework,  and  charming 
boy-angels  holding  the  coat  of  arms  of  the  de- 
ceased. Every  portion  of  the  decoration  of  this 
exquisite  tomb  should  be  examined  in  detail. 
Observe  in  particular  the  robe  and  tassels.  It 
is  a  masterpiece  of  its  period. 

Many  of  the  late  altar-pieces  in  this  aisle  are 
worth  passing  attention  as  specimens  of  the 
later  baroque  painting. 

Notice  also  the  tomb  of  Galileo  Galilei,  died 
1642,  and,  over  the  holy  water  stoup,  St.  Francis 
with  the  Stigmata. 

On  the  entrance  wall  of  the  nave,  in  the  rose 
window,  is  a  Descent  from  the  Cross,  thus  com- 
pleting the  series  of  the  Holy  Cross,  from  a 
design  by  Ghiberti ;  beneath  it,  the  original 
IHS,  from  the  design  of  St.  Bernardino  of 
Siena,  the  holy  Franciscan,  who  placed  it  with 
his  own  hands  on  the  old  fagade.  Over  the 
central  door  stands  a  statue  of  St.  Louis  of 
Toulouse,  the  other  great  Franciscan  saint,  by 
Donatello ;  beneath  his  feet,  the  crown  which  he 


TOMB    OF    GALILEO    GALILEL 


The  Sacristy  and  the  Chapels.       35 

refused  in  order  to  accept  the  monastic  profes- 
sion. Study  well  all  these  Franciscan  memo- 
rials, and  observe  their  frequent  allusiveness  to 
the  Holy  Cross. 

The  reader  must  not  suppose  that  in  this 
brief  enumeration  I  have  done  anything  more 
than  hastily  touch  upon  a  point  of  view  for  the 
chief  objects  of  interest  in  this  most  important 
church.  He  must  come  here  over  and  over 
again,  and  study  the  various  chapels  and  their 
frescoes  in  order.  I  have  passed  over  endless 
minor  works  whose  meaning  and  interest  will 
become  more  and  more  apparent  on  further 
examination.  Regard  Santa  Croce  as  a  mu- 
seum of  the  early  Giottesque  fresco-painters, 
and  recollect  that  only  in  Florence,  with  Assisi 
and  Padua,  can  you  adequately  study  these 
great  artists.  If  the  study  attracts  you,  read 
up  in  Layard's  Kugler  the  portion  relating  to 
Giotto,  Taddeo  Gaddi,  and  Giovanni  da  Milano  ; 
and  also  in  Mrs.  Jameson  the  legends  of  the 
chief  saints  here  commemorated.  Then  return 
to  correct  and  enlarge  your  first  impressions. 
Afterward  go  on  to  Assisi  and  Padua.  It  is 
impossible  to  estimate  the  Giottesques  outside 
Italy. 


^6  Florence. 

Through  the  cloisters  of  the  Franciscan  mon- 
astery, to  the  right,  outside  the  church  (designed 
by  Arnolfo),  you  gain  access  to  the  Cappella  de' 
Pazzi,  founded  by  the  great  family  whose  name 
it  bears,  the  chief  rivals  of  the  Medici.  It  is 
a  splendid  work  by  Brunellcschi,  the  architect 
of  the  dome  of  the  Cathedral.  The  beautiful 
frieze  of  angels'  heads  without  is  by  Donatello 
and  Desiderio  de  Settignano.  You  can  thus 
study  here  these  two  early  Renaissance  sculp- 
tors. Within  are  terra-cotta  decorations  by 
Luca  della  Robbia  :  the  twelve  Apostles  and  the 
four  Evangelists.  The  shape  of  the  roof  is 
characteristic. 

To  the  right  of  the  cloisters  on  entering  is 
the  old  refectory  of  the  convent,  on  the  end 
wall  of  which,  as  on  most  refectories,  is  painted 
in  fresco  the  Last  Supper,  attributed  to  Giotto, 
more  probably  by  Taddeo  Gaddi.  This  Cena- 
colo  should  be  carefully  studied  as  the  one  from 
which  most  later  representations  are  gradually 
derived.  Notice  the  position  of  Judas  in  the 
foreground,  long  maintained  in  subsequent  paint- 
ings. I  advise  you  to  get  photographs  of  this 
work  for  comparison  with  the  Ghirlandajo  at 
San  Marco,  the  Cenacolo  di  Fuligno,  etc.     The 


The  Sacristy  and  the  Chapels.       37 

Crucifixion,  above,  has  near  it  a  Genealogical 
Tree  of  the  Franciscan  order ;  close  by,  St. 
Francis  receiving  the  Stigmata,  History  of  St, 
Louis  of  Toulouse,  and  the  Magdalen  at  the 
feet  of  Christ  in  the  house  of  the  Pharisee. 
All  these,  again,  should  be  noted  for  compari- 
son ;  they  are  probably  the  work  of  a  pupil  of 
Taddeo's.  Do  not  omit  to  observe  the  Francis- 
can character  here,  too,  nor  the  frequency  of 
the  outcast  figure  of  the  Magdalen.  The  Fran- 
ciscans —  the  Salvation  Array  of  their  day  — 
ministered  especially  to  the  poor  and  sinful. 


CHAPTER    IV. 

SANTA    MARIA    NOVELLA    AND    THE    FIRST 
DOMINICAN    QUARTER. 

ST.  DOMINIC  of  Castile,  the  great  contem- 
porary and  friendly  rival  of  St.  Francis,  died 
in  122 1.  The  order  which  he  founded  (distin- 
guishable in  art  as  in  life  by  its  black  and  white 
robes)  soon  spread  over  Italy.  The  Domini- 
cans constituted  themselves  the  guardians  of 
Faith,  as  the  Franciscans  were  the  apostles  of 
Works ;  they  protected  the  faithful  against 
heresy,  and  extirpated  heretics.  The  Holy 
Inquisition  grew  out  of  their  body.  They  were 
also,  incidentally,  the  leading  teachers  of  scho- 
lastic philosophy ;  they  posed  as  the  learned 
order.  As  preachers,  they  chiefly  expounded 
the  doctrines  of  the  Church,  and  preserved  its 
purity. 

The  Dominicans  were  the  earliest  builders  of 

any  important  monumental  church  at  Florence. 
38 


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fefe 


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Santa  Maria  Novella.  39 

In  1278  (some  sixteen  years  before  the  Fran- 
ciscans at  Santa  Croce),  they  began  to  erect  a 
splendid  edifice  on  the  west  side  of  the  town,  in 
the  garden  belt  outside  the  narrow  walls  of  the 
earliest  precinct.  It  served  as  chapel  to  their 
monastery.  The  design  for  this  church,  in 
pure  Tuscan  Gothic,  was  prepared  by  two 
Dominican  monks,  Fra  Sisto  and  Fra  Ristoro ; 
and  the  building  was  finished  (except  the  fagade) 
about  1355.  The  facade  itself  is  a  later  Re- 
naissance addition  to  the  original  building. 

Before  examining  Santa  Maria  Novella,  how- 
ever, I  strongly  advise  the  visitor  to  begin  by 
inspecting  the  Strozzi  Palace,  in  the  Via  Torna- 
buoni.  This  massive  Tuscan  residence  forms  a 
typical  example  of  the  solid  and  gloomy  Floren- 
tine palaces  —  half  fortress,  half  mansion.  It 
was  built,  as  a  whole,  in  1489  (long  after  Santa 
Maria),  by  Benedetto  da  Majano,  for  his  patron, 
Filippo  Strozzi,  the  chief  rival  of  the  Medici  in 
the  later  fifteenth  century.  The  beautiful 
cornice  which  tops  its  exterior  on  the  side  next 
the  Via  Strozzi  was  added  later  by  Cronaca. 
But  it  is  well  to  inspect  (from  without)  this 
magnificent  house  before  visiting  Santa  Maria, 
because  both  Filippo  Strozzi  and  Benedetto  da 


40  Florence. 

Majano  will  meet  us  again  more  than  once  in 
the  church  we  are  about  to  consider.  Observe 
that  the  solid  Tuscan  palaces  of  which  this  is 
the  type  are  designed  like  fortresses,  for  defence 
against  civic  foes,  with  barricaded  windows  high 
up  on  the  ground  floor,  and  a  castle-like  front ; 
while  they  are  only  accessible  by  a  huge  gate 
(readily  closed)  into  a  central  courtyard,  lighter 
and  airier,  on  which  the  principal  living-apart- 
ments open.  (These  palaces  incidentally  give 
you  the  clue  to  the  Cour  du  Louvre.)  Note 
the  immense  blocks  of  stone  of  which  the  wall 
is  composed,  and  the  way  they  are  worked ; 
observe  also  the  windows,  doorways,  corner- 
lanterns,  and  rings  or  link-holders  of  the  ex- 
terior ;  then  walk  into  the  court,  whose  front  was 
added  somewhat  later  by  Cronaca.  Contrast 
these  fortress  town-houses  of  the  turbulent 
Florentine  nobles  with  the  relatively  free  and 
open  mansions  of  the  mercantile  Venetians, 
among  whom  (under  the  strong  rule  of  the 
Doges  and  the  oligarchy)  internal  peace  was  so 
much  earlier  secured.  Remember  finally  that 
the  Strozzi  were  among  the  chief  patrons  of 
Santa  Maria  Novella. 

From  the  Strozzi  Palace,  again,   walk   just 


Santa  Maria   Novella.  41 

around  the  corner  into  the  Via  dclla  Vigna 
Nuova,  and  inspect  the  exterior  of  the  slightly 
earlier  Rucellai  Palace.  The  family  who  built 
it  were  the  pillars  of  Santa  Maria  and  of  the 
Dominican  order.  It  was  designed  by  Leon 
Battista  Alberti,  the  first  of  the  famous  Renais- 
sance architects ;  it  is  remarkable  for  the  pi- 
lasters which  here  first  intervene  between  the 
so-called  nistica  work  of  the  masonry.  These 
two  palaces  give  you  a  good  idea  of  the  Tuscan 
houses.  If  you  wish  to  learn  more  of  Alberti's 
style  inspect  also  the  dainty  little  (blocked-up) 
arcade  or  loggia  opposite ;  as  also  the  Rucellai 
Chapel  in  the  Via  della  Spada,  which  encloses 
an  imitation  by  Alberti  of  the  Holy  Sepulchre 
at  Jerusalem.  And  now  you  are  in  a  position 
to  understand  Santa  Maria,  the  fagade  of  which 
this  same  Alberti  designed. 

Recollect  then,  in  the  first  place,  that  it  is  a 
Dominican  church,  full  of  the  glory  of  the  Do- 
minicans, and  of  their  teaching  function,  as  well 
as  of  their  great  philosophic  saints,  in  particu- 
lar, St.  Thomas  Aquinas  —  look  out  for  their 
black-and-white  robes  ;  and,  in  the  second  place, 
that  it  is  the  church  of  the  Rucellai,  the  Strozzi, 
the  Tornabuoni,  and  other  wealthy  and  noble 


VP' 


42  Florence. 

Florentine  families.  Earlier  in  date  than  Santa 
Croce  as  to  its  fabric,  I  place  it  later  in  the 
order  of  our  tour,  because  its  contained  works 
of  art  are  of  later  date,  and  its  style  less 
uniform. 
^,^^>0*-  ,  Choose  a  very  sunny  day ;  go  into  the  Piazza 
r>  **■"  Santa  Maria  Novella,  Observe  the  church, 
and  the  opposite  hospital  of  San  Paolo ;  there 
is  a  good  relief  of  the  Meeting  of  St.  Dominic 
and  St.  Francis,  by  the  Delia  Robbia,  in  the 
right  corner  of  the  latter,  under  the  loggia. 
Then,  walk  around  the  right  corner  of  the 
church  into  the  Piazza  dell'  Unita  Italiana, 
where  stand  by  the  obelisk  to  examine  the  ex- 
terior of  the  mediaeval  portion  of  the  building, 
with  its  almost  windowless  nave  and  aisles,  and 
its  transept  with  small  rose  window.  This  part 
was  designed  for  the  Rucellai  by  two  Dominican 
monks  about  1278.  Afterward,  proceed  toward 
the  railway  station,  so  as  to  observe  the  ar- 
chitecture of  the  end  of  the  church,  and  the 
interesting  campanile.  This  is  all  part  of  the 
primitive  building. 

Now,  return  to  the  much  later  Renaissance 
facade,  erected  by  Leon  Battista  Alberti  in  1456 
for  Giovanni  Rucellai.    This  facade  is  well  worth 


Santa   Maria  Novella.  43 

close  notice,  as  a  specimen  of  early  Renaissance 
architecture.  Observe  first  the  earlier  Gothic 
arcades  {avelli),  in  black  and  white  marble,  which 
surround  the  corner.  These  were  used  as 
burial  vaults,  and  contain,  below,  the  coats-of- 
arms  of  the  various  noble  families  interred 
there.  Those  to  the  right  have  been  over- 
restored  ;  but  on  the  lower  tier  of  the  facade 
itself,  and  to  the  left  by  the  monastery  build- 
ings, they  still  remain  in  their  original  condition. 
The  two  lateral  doorways  are  also  early  and 
Gothic.  The  central  doorway,  however,  and 
the  rest  of  the  facade,  in  black  and  white  marble, 
and  serpentine,  —  at  least,  the  part  above  the 
first  cornice,  —  belongs  to  the  later  Renaissance 
design  added  by  Alberti.  If  you  go  around  to 
the  front  of  the  neighbouring  church  of  San 
Lorenzo,  you  will  see  the  way  in  which  such 
facades  were  often  left  incomplete  for  ages  in 
Italy.  Notice  the  contrast  between  the  later 
and  earlier  portions ;  also  the  handsome  green 
pilasters.  At  Santa  Croce,  the  nave  and  aisles 
have  separate  gables ;  here,  only  the  nave  has  a 
visible  gable-end,  while  the  apparently  flat  top 
of  the  aisles  is  connected  with  it  by  a  curl  or 
volute,  which  does  not  answer  to  the  interior 


44 


Florence. 


architecture.  Beneath  the  pediment  runs  the 
inscription  :  "  Ioiiannes  Oricellarivs,  Pav[li] 
Fil[ivs]  An[no]  Sal[vationis]  Mcccclxx;" 
that  is  to  say,  "  Giovanni  Rucellai,  son  of  Paolo, 
in  the  Year  of  Salvation,  1470."  Look  out 
within  for  more  than  one  memorial  of  these 
same  Rucellai,  the  great  joint  patrons  of  Santa 
Maria  Novella. 

Enter  the  church.  The  interior,  a  fine  speci- 
men of  Tuscan  Gothic,  consists  of  a  nave  and 
aisles,  with  vaulted  roof  (about  1350),  and  a 
transept  somewhat  longer  than  is  usual  in 
Italian  churches. 

Walk  up  the  centre  of  the  nave  to  the  junc- 
tion of  the  transepts  (mind  the  two  steps  half 
way)  in  order  to  observe  the  internal  architec- 
ture in  general,  and  the  position  of  the  choir 
and  chapels,  much  resembling  that  of  Santa 
Croce :  only,  the  transepts  end  here  in  raised 
chapels. 

Then,  return  to  the  right  aisle,  noticing,  on 
the  entrance  wall,  to  the  right  of  the  main 
door,  a  beautiful  little  Annunciation  of  the 
fifteenth  century,  where  the  position  of  the  Ma- 
donna and  angel,  the  dividing  wall,  prie-dieu,  bed 
in  the  background,  etc.,  are  all  highly  character- 


INTERIOR    OF    SANTA    MARIA    NOVELLA. 


Santa  Maria  Novella.  45 

istic  of  this  interesting  subject.  Beneath  it, 
three  little  episodes,  a  Baptism,  an  Adoration 
of  the  Magi,  and  a  Nativity,  closely  imitated 
after  Giotto.  To  the  left  of  the  doorway  is  a 
Holy  Trinity,  with  saints  and  donors,  much 
injured,  but  still  a  fine  Work  by  Masaccio.  The 
altar-pieces  in  the  right  aisle  are  of  the  seven- 
teenth century,  and  mostly  uninteresting.  One 
is  dedicated  to  St.  Thomas  a  Becket. 

In  the  right  transept  is  a  bust  of  St.  Antoni- 
nus, the  Dominican  Bishop  of  Florence.  (The 
Dominicans  make  the  most  of  their  saints  here, 
as  the  Franciscans  did  at  Santa  Croce.) 

Beyond  the  doorway  is  the  Tomb  of  Joseph, 
Patriarch  of  Constantinople,  who  came  to  the 
Council  of  Ferrara  (afterward  at  Florence)  in 
order  to  arrange  a  basis  of  reunion  for  the  East- 
ern and  Western  Churches,  and  then  died  here, 
1440.  (The  beautiful  fresco  of  the  Journey  of 
the  Magi  by  Benozzo  Gozzoli  at  the  Riccardi 
Palace,  which  you  will  visit  later,  contains  his 
portrait  as  the  Eldest  King.) 

Above  this  is  the  early  Gothic  Tomb  of  Al- 
dobrandino  (1279),  with  Madonna  and  Child, 
added,  by  Nino  Pisano.  To  the  right  is  an 
other  tomb  (Bishop  Aliotti  of  Fiesole,  died  1336) 


4-6  Florence. 

with  recumbent  figure,  Ecce  Homo,  etc.,  best 
viewed  from  the  steps  to  the  end  chapel :  this 
is  probably  by  Tino  da  Camaino.  Note  these 
as  specimens  of  early  Tuscan  sculpture. 

Ascend  the  steps  to  the  Rucellai  Chapel. 
(Remember  the  family.)  Over  the  altar  is 
Cimabue's  famous  Madonna,  with  attendant 
angels  superimposed  on  one  another.  This 
celebrated  picture,  the  first  which  diverged 
from  the  Byzantine  (or  rather  barbaric  Ital- 
ian) style,  is  best  seen  in  a  very  bright  light. 
It  forms  the  starting-point  for  the  art  of  Tus- 
cany. A  replica,  with  slight  variations,  can  be 
studied  with  greater  ease  in  the  Belle  Arti.  This 
famous  work  is  the  one  which  is  said  to  have 
been  borne  in  triumph  from  the  painter's  studio 
to  the  church  by  the  whole  population.  Note 
the  greater  freedom  in  the  treatment  of  the 
angels,  where  Cimabue  was  less  bound  by  rigid 
custom  than  in  Our  Lady  and  the  Divine  Child. 
On  the  right  wall  is  a  characteristic  Giottesque 
Annunciation,  where  the  loggia  and  the  posi- 
tion of  the  angel  should  be  noted  ;  on  the  left 
wall  is  St.  Lucy,  with  her  eyes  in  a  dish,  by 
Ridolfo  Ghirlandajo.  The  tomb  of  the  Beata 
Villana  (with  angels,  as  often,  drawing  the  cur- 


Santa  Maria  Novella.  47 

tains)  is  by  Bernardo  Rossellino.  The  Martyr- 
dom of  St.  Catherine  is  by  Bugiardini.  Come 
again  to  this  chapel  to  study  the  Cimabue  after 
you  have  seen  the  copy  in  the  Belle  Arti. 

Notice  outside  the  chapel,  as  you  descend  the 
stairs,  the  Rucellai  inscriptions,  including  the 
Tomb  of  Paolo,  father  of  Giovanni,  who  erected 
the  facade. 

Now,  turn  to  the  Choir  Chapels,  extending 
in  a  line  to  the  left  as  you  descend.  And  ob- 
serve here  that,  just  as  the  exterior  belongs  to 
two  distinct  ages.  Mediaeval  and  Renaissance, 
so  also  do  the  frescoes.  The  Orcagnas  and 
the  paintings  of  the  Spanish  Chapel  are  Giot- 
tesque  and  Mediaeval ;  the  Filippino  Lippis  and 
the  Ghirlandajos  are  Renaissance.  We  come 
first  upon  the  later  series. 

The  first  chapel  is  uninteresting. 

The  second  chapel,  of  the  Strozzi  family,  the 
other  great  patrons  of  Santa  Maria  Novella,  was 
formerly,  as  the  Latin  inscriptions  relate,  dedi- 
cated to  St.  John  the  Evangelist,  but  was  after- 
ward made  over  by  Filippo  Strozzi  (builder  of 
the  Strozzi  Palace)  to  his  family  patrons,  St. 
Philip  and  St.  James.  The  same  powerful 
nobleman   employed   Filippino    Lippi   to   deco- 


48  Florence. 

rate  it  with  **  frescoes,  which  rank  among 
the  finest  work  of  that  great  Renaissance  mas- 
ter. Here  you  come  for  the  first  time  upon  a 
famous  Florentine  painter  of  the  fifteenth  cen- 
tury. Contrast  his  frescoes  with  the  Giottesque 
types  at  Santa  Croce,  and  observe  the  advance 
they  mark  in  skill  and  knowledge.  The  left 
wall  contains  scenes  from  the  life  of  the  (dis- 
possessed) St.  John  the  Evangelist,  as  com- 
pensation for  disturbance.  Below,  St.  John 
raises  Drusiana,  a  legendary  subject  which  we 
saw  at  Santa  Croce.  Observe  here,  however, 
the  Roman  architecture,  the  attempts  at  clas- 
sical restoration,  and  the  admirable  dramatic 
character  of  the  scene,  especially  visible  in  the 
strange  look  of  wonder  on  the  face  of  the  resus- 
citated woman  herself,  and  the  action  of  the 
two  bier-bearers.  The  group  of  women, 
mourners,  and  children  to  the  right  should 
be  carefully  studied  as  typical  of  Filippino 
Lippi's  handiwork  (about  1502).  Above  is  St. 
John  in  the  caldron  of  boiling  oil.  Observe 
again  the  classical  tone  in  the  lictors  with 
fasces  and  other  Roman  insignia.  The  right 
wall  is  devoted  to  the  legendary  history  of 
St.    Philip,   the  namesake  of   both  patron  and 


Santa  Maria  Novella.  49 

painter.  Below,  St.  Philip  exorcises  a  dragon 
which  haunted  a  temple  at  Hierapolis  in  Phrygia, 
and  killed  by  its  breath  the  king's  son.  Here 
again  the  dramatic  action  is  very  marked,  both 
in  the  statue  of  Mars,  the  priest,  the  mourning 
worshippers,  and  the  dragon  to  the  left,  and  the 
dying  prince  in  the  arms  of  his  courtiers  to  the 
right  of  the  picture.  Above  is  the  Martyrdom 
of  St.  Philip,  who  is  crucified  by  the  outraged 
priests  of  the  dragon.  These  frescoes,  though 
marred  by  restoration,  deserve  attentive  study. 
Their  exaggerated  decorative  work  is  full  of  feel- 
ing for  the  antique.  They  are  characteristic 
but  florid  examples  of  the  Renaissance  spirit 
before  the  age  of  Raphael.  (Good  accounts  in 
Layard's  Kugler,  and  Mrs.  Jameson.)  Note, 
however,  that  while  excellent  as  art  they  are 
wholly  devoid  of  spiritual  meaning  —  mere 
pleasant  stories.  On  the  window  wall  is  the 
tomb  of  Filippo  Strozzi  by  Benedetto  da 
Majano,  the  architect  of  the  Strozzi  palace. 
(Notice  throughout  this  constant  connection 
of  certain  painters  and  sculptors  with  families 
of  particular  patrons,  and  also  with  churches  of 
special  orders.)  The  Madonna  and  Child,  fly- 
ing  angels,   and    framework,   are   all    exquisite 


50  Florence. 

examples  of  their  artist's  fine  feeling.  The 
bust  of  Filippo  Strozzi,  from  this  tomb,  is 
now  in  the  Louvre,  The  window  above,  with 
Our  Lady,  and  St.  Philip  and  St.  James,  is  also 
after  a  design  by  Filippino  Lippi.  Observe 
likewise  the  admirable  Sibyls  and  other  alle- 
gorical figures  of  the  window  wall.  Not  a 
detail  of  this  fine  Renaissance  work  should  be 
left  unnoticed.  Do  not  forget  the  Patriarchs 
on  the  ceiling,  each  named  on  a  cartolino  or 
little  slip  of  paper.  Return  more  than  once 
to'  a  chapel  like  this,  reading  up  the  subjects 
and  painters  meanwhile,  till  you  feel  you  under- 
stand it. 

Enter  the  choir,  noticing,  as  you  pass,  the 
marble  high  altar,  which  covers  the  remains  of 
the  Dominican  founder,  the  Beato  Giovanni  di 
Salerno. 

The  **  frescoes  on  the  walls  were  originally 
by  Orcagna,  but  in  1490  Giovanni  Tornabuoni 
commissioned  Domenico  Ghirlandajo  to  paint 
them  over  with  the  two  existing  series,  repre- 
senting, on  the  right  wall,  the  life  of  St.  John 
the  Baptist,  the  patron  saint  of  the  city,  and, 
on  the  left  wall,  the  history  of  the  Virgin,  the 
patron  saint  of   Santa  Maria  Novella.      (Here, 


Santa   Maria  Novella.  51 

therefore,  as  usual,  the  Choir  contains  direct 
reference  to  the  dedication.) 

The  upper  scenes  on  either  side  are  so  much 
damaged  as  to  be  hardly  recognisable,  but  the 
lower  ones  are  as  follows  : 

On  the  left  wall,  in  the  second  tier  to  the 
left,  is  the  Presentation  of  the  Virgin  in  the 
Temple,  which  should  be  compared  with  similar 
scenes  by  earlier  Giottesque  painters,  in  Santa 
Croce  ;  on  the  right,  the  Marriage  of  the  Virgin  ; 
observe  again  the  positions  of  Joseph,  Mary,  the 
High  Priest,  the  attendant  Virgins  of  the  Lord, 
and  the  disappointed  suitors,  breaking  their 
staffs,  etc.  (Recall  or  compare  with  photo- 
graph of  Raphael's  Sposalizio  at  Milan.)  In 
the  lowest  tier,  on  the  left,  is  the  Expulsion 
of  Joachim  from  the  Temple  (because  he  is 
childless)  where  the  spectators  (introduced  as 
if  viewing  the  facts)  are  contemporary  Floren- 
tine portraits  of  the  painter  and  his  brother, 
and  the  family  and  friends  of  the  Tornabuoni. 
Contrast  the  details  with  the  Giottesques  at 
Santa  Croce  :  noble  figures  of  the  High  Priest 
and  St.  Joachim.  On  the  right  is  the  Birth  of 
the  Virgin,  with  St.  Anne  in  bed,  the  washing 
of  the  infant,  and  a  group  of  Florentine  ladies 


52  Florence. 

as  spectators  :  conspicuous  among  them,  Lodo- 
vica,  daughter  of  Giovanni  Tornabuoni ;  in  the 
background,  the  Meeting  of  Joachim  and  Anna 
at  the  Golden  Gate.  In  all  these  pictures,  the 
survivals  and  modifications  of  traditional  scenes 
should  both  be  noted  ;  also,  the  character  of  the 
architecture  and  the  decorative  detail  in  which 
Ghirlandajo  delighted.  He  had  been  trained  as 
a  goldsmith,  and  retained  through  life  his  love 
of  goldsmith-like  handicraft.  The  introduction 
of  portraits  of  contemporaries  as  spectators  is 
highly  characteristic  both  of  age  and  artist. 
Ghirlandajo  was  in  essence  a  portrait-painter, 
who  used  sacred  scenes  as  an  excuse  for  por- 
traiture. 

On  the  right  wall,  in  the  lower  tier,  to  the 
left,  is  the  Visitation,  where  the  positions  of 
the  Madonna  and  St.  Elizabeth  should  be  noted, 
as  those  on  which  later  pictures  by  Mariotto 
Albertinelli,  Pacchiarotto,  etc.,  are  based,  and 
also  as  derived  from  earlier  examples.  Here, 
also,  notice  the  contemporary  portraits.  The 
lady,  standing  very  erect,  in  a  stiff  yellow  gown, 
is  Giovanni  Tornabuoni's  stepdaughter,  Gio- 
vanna  Albizi,  the  same  person  of  whom  a  por- 
trait by  Ghirlandajo  (a  study  for  this  picture) 


GUIRLANDAJO    —  BIRTH    OF    JOHN    THE    BAPTIST    (DETAIL) 


Santa   Maria  Novella.  53 

exists  in  the  National  Gallery  in  London,  and 
who  is  also  introduced  in  the  two  frescoes  by 
Botticelli  at  the  head  of  the  principal  stairs  in 
the  Louvre.  On  the  right  is  the  Angel  appear- 
ing to  Zacharias,  where  a  group  of  contempo- 
rary portraits  of  distinguished  Florentines  is 
particularly  celebrated  ;  Baedeker  names  them  ; 
I  will  not,  as  you  will  have  his  book  with  you. 
In  the  second  tier,  on  the  left,  Zacharias  writes 
"  His  name  is  John."  On  the  right  is  the  birth 
of  the  Baptist.  Sit  on  the  seats  a  long  time, 
and  study  an  fond  these  typical  and  important 
frescoes. 

On  the  window  wall  are  ill  seen  and  defaced 
frescoes,  also  by  Ghirlandajo,  of  St.  Francis 
before  the  Sultan,  and  St.  Peter  Martyr  killed 
by  assassins  ;  the  Annunciation,  and  St.  John  the 
Baptist  in  the  desert  ;  and,  below  all,  Giovanni 
Tornabuoni  and  his  wife,  the  donors  of  these 
frescoes.  Observe  here  in  the  choir,  which  is, 
as  it  were,  the  focus  of  the  church,  that  almost 
everything  refers  to  the  Blessed  Virgin,  the 
patroness  of  this  building,  or  to  St.  John  the 
Baptist,  the  patron  of  the  town  in  which  it  is 
situated. 

I  cannot  too  strongly  recommend  close  study 


54  Florence. 

of  these  late  Renaissance  pictures  of  the  age 
immediately  preceding  that  of  Raphael.  Do  not 
be  satisfied  with  noting  the  few  points  I  men- 
tion :  look  over  them  carefully  as  specimens  of 
an  epoch.  Specially  characteristic,  for  example, 
is  the  figure  of  the  nude  beggar  in  the  scene 
of  the  Presentation  of  the  Virgin,  on  the  left 
wall,  showing  the  growing  Renaissance  love  for 
nude  anatomy.  On  the  other  hand  you  will  find 
in  the  same  picture  the  positions  of  St.  Jerome 
and  St.  Anna,  of  the  two  children,  and  of  the 
two  men  in  the  foreground,  as  well  as  that  of 
the  Madonna  pausing  half-way  up  the  steps, 
exactly  equivalent  to  those  in  the  Taddeo  Gaddi 
and  the  Giovanni  da  Milano.  Photographs  of 
all  these  should  be  compared  with  one  another, 
and  also  with  the  famous  Titian  at  Venice.  I 
have  tried  to  give  some  hints  on  this  subject 
in  an  article  on  the  Presentation  in  the  Temple 
contributed  to  the  Pall  Mall  Magazine  in 
1895. 

The  first  chapel  beyond  the  choir  is  uninter- 
esting. It  contains,  however,  a  famous  crucifix 
by  Brunelleschi,  which  would  seem  to  show  that 
a  crucifix,  by  whomsoever  designed,  is  still  a 
crucifix. 


Santa  Maria  Novella.  ^^ 

The  second  chapel,  of  the  Gaddi,  contains 
good  bas-reliefs  by  Bandini. 

Under  the  steps  which  lead  to  the  elevated 
Strozzi  Chapel  (the  second  belonging  to  the 
family  in  this  church)  is  a  tomb  with  Gothic 
figures  and  a  Giottesque  Entombment,  attrib- 
uted to  Giottino. 

Ascend  the  steps  to  the  Strozzi  Chapel, 
the  altar  of  which  covers  the  remains  of  a 
"Blessed"  member  of  the  family,  the  Beato 
Alessio  dei  Strozzi.  This  chapel  contains  some 
famous  Giottesque  frescoes  by  the  brothers 
Orcagna. 

On  the  window  wall  is  the  Last  Judgment, 
by  Andrea  Orcagna,  with  Angels  of  the  Last 
Trump,  the  twelve  apostles,  the  rising  dead, 
and  other  conventional  elements.  Conspicuous 
just  below  the  figure  of  the  Saviour  are,  to  the 
left,  Our  Lady,  patroness  of  this  church,  and  to 
the  right  St.  John  the  Baptist,  patron  of  this 
city.  On  the  right  of  the  Saviour  are  the  elect ; 
to  the  left  of  him,  the  damned.  Every  one  of 
the  figures  of  the  rising  dead,  saints,  and  apos- 
tles, with  the  angels  bearing  the  instruments 
of  the  Passion,  deserve  close  attention.  Most  of 
them  will  recur  in  many  later  pictures.     Com- 


56  Florence. 

pare  the  similar  scene  in  the  Campo  Santo  at 
Pisa. 

On  the  left  wall  is  the  Paradise,  also  by 
Andrea,  a  famous  and  most  beautiful  picture, 
with  Christ  and  the  Madonna  enthroned,  and 
an  immense  company  of  adoring  saints  and 
angels.  As  many  as  possible  of  these  should 
be  identified  by  their  symbols.  Return  from 
time  to  time  and  add  to  your  identifications. 
The  tiers  represent  successively  Seraphim  and 
Cherubim,  Apostles,  Prophets,  Patriarchs,  Doc- 
tors of  the  Church,  Martyrs,  Virgins,  Saints, 
and  Angels.  Notice  the  suitability  of  this 
dogmatic  arrangement  in  a  Dominican  church, 
belonging  to  the  stewards  and  guardians  of 
orthodoxy.  The  painting  unites  Florentine 
grandeur  with  Sienese  tenderness. 

On  the  right  wall  is  a  yery  ugly  Inferno, 
attributed  to  Orcagna's  brother,  Bernardo,  and 
divided  into  set  divisions,  in  accordance  with 
the  orthodox  mediaeval  conception,  which  is  sim- 
ilarly crystallised  in  Dante's  poem.  The  vari- 
ous spheres  are  easily  followed  by  students  of 
the  "  Divina  Commedia." 

Do  not  omit  to  observe  the  very  beautiful 
altar-piece,  also  by  Orcagna.     Its  chief  subject 


Santa   Maria  Novella.  57 

is  Christ  giving  the  keys,  on  the  one  hand,  to 
Peter,  and  the  book,  on  the  other  hand,  to  the 
great  Dominican  saint  and  philosophical  teacher, 
St.  Thomas  Aquinas.  The  allegorical  meaning 
is  further  accentuated  by  the  presence  of  the 
Madonna  and  St.  John,  patrons  of  this  church 
and  city.  We  have  thus  St.  Thomas  placed  al- 
most on  a  plane  of  equality  with  the  Papacy. 
The  other  figures  are  St.  Michael  the  Archangel, 
St.  Catherine  with  her  wheel,  St.  Lawrence 
with  his  gridiron,  and  St.  Paul  with  his  sword. 
In  the  predella  beneath  are  subjects  taken 
from    the    stories    of    the    same    saints.      The 

t\.  a- 

most  interesting  is  the  struggle  for  the  soul  of        r>*-*'  ^ 
the  Emperor  Henry  II.     (See  Mrs.  Jameson.)   v^^-^^^^Ia^^^-^ 
The   Emperor  is  seen   dying ;   then,  devils  go  '^^''^^^^^.^jiJ'. 
to    seize    his    soul ;   a  hermit    sees    them ;    St. 
Michael  holds  the  scales   to   weigh   the  souls  ; 
the  devils  nearly  win,  when,  suddenly,  St.  Law- 
rence descends,  and  places  in  the  scale  a  gold 
casket   which   the   Emperor  had   presented    to 
him  (once  at  Bale,  now  in  the  goldsmiths'  room 
at  the  Musee  de  Cluny)  ;  the  scale  bends  down, 
and  the  devils  in  a  rage  try  to  seize  St.  Law- 
rence.    A  quaint  story,  with  an  obvious  moral, 
well  told  in  this  predella  with  spirit  and  vigour. 


58  Florence. 

This  chapel  as  a  whole  is  one  of  the  best 
smaller  examples  now  remaining  of  a  completely 
decorated  Giottesque  interior.  Not  a  single 
element  of  its  frescoes  and  Dominican  sym- 
bolism should  pass  without  notice.  Observe, 
before  you  leave,  St.  Thomas  Aquinas  on  the 
arch,  in  four  characters,  as  Prudence,  Justice, 
Courage,  and  Temperance.  The  Strozzi  Chapel 
again  is  one  to  which  you  must  pay  frequent 
visits. 

Descend  the  steps.  The  door  in  front  leads 
to  the  Sacristy.  The  most  interesting  object  in 
it  is  a  lavatory  in  marble  and  terra-cotta  of  the 
school  of  Delia  Robbia.  The  pictures  of  Do- 
minican saints  with  which  it  is  adorned  have 
little  more  than  symbolical  interest. 

The  left  aisle  contains  no  object  of  special 
interest. 


CHAPTER   V. 

THE    SPANISH    CHAPEL. 

THIS  completes  a  first  circuit  of  the  church 
itself ;  but  you  have  still  to  see  the  most 
interesting  object  within  its  walls  —  the  Spanish 
Chapel.  Do  not  attempt,  however,  to  do  it  all 
in  one  day.  Return  a  second  bright  morning, 
between  ten  and  twelve,  and  pay  a  visit  to  this 
gem  of  early  architecture  and  painting. 

A  door  to  the  right  of  the  raised  Strozzi 
chapel,  in  the  left  transept,  leads  into  the 
cloisters.  It  is  locked.  You  must  get  the 
sacristan  to  open  it.  He  is  usually  to  be  found 
in  the  Sacristy. 

The  first  cloister  which  you  enter,  known  as 
the  Sepolcreto,  and  containing  numerous  mediae- 
val or  modern  tombs,  has  faded  Giottesque  fres- 
coes, two  of  which,  in  the  bay  to  the  right  as 
you  descend  the  steps,  pretty  enough  in  their 
59 


6o  Florence. 

way,  have  been  made  famous  (somewhat  beyond 
their  merits)  by  Mr.  Ruskin.  That  on  the  left, 
in  a  curiously  shaped  lunette,  represents,  with 
charming  nalfvet6,  the  Meeting  of  Joachim  and 
Anna  at  the  Golden  Gate.  Observe  the  con- 
ventional types  of  face  and  dress  in  the  two 
saints,  and  the  angel  putting  the  heads  of  the 
husband  and  wife  together ;  also,  the  servant 
carrying  the  rejected  offering,  all  of  which  are 
stereotyped  elements  in  the  delineation  of  this 
subject.  The  fresco  to  the  right  represents 
the  Birth  of  the  Virgin,  and  may  be  instruct- 
ively compared  with  the  Ghirlandajo  up-stairs, 
and  also  with  the  Taddeo  Gaddi  and  the  Gio- 
vanni da  Milano  at  Santa  Croce.  The  sim- 
plicity of  the  treatment  is  indeed  reminiscent 
of  Giotto's  manner,  but  few  critics,  I  fancy, 
will  agree  with  Mr.  Ruskin  in  attributing  these 
works  to  the  actual  hand  of  the  master. 
Remember,  too,  that  Giotto  is  always  simple, 
because  he  is  early;  later  times  continually 
elaborated  and  enriched  his  motives.  On  the 
side  walls,  to  the  left,  the  angel  appears  to 
Joachim  and  Anna  simultaneously  ;  on  the  right 
is  the  Presentation  of  the  Virgin  in  the  Temple. 
Compare  these  naive  works  with  the  frescoes  in 


The  Spanish   Chapel.  6i 

the  Madonna  dell'  Arena  at  Padua,  and  other 
examples. 

This  cloister  also  contains  a  vulgarly  coloured 
and  somewhat  coarse  terra-cotta  relief  of  Christ 
as  the  Gardener  and  the  Magdalen  in  the  Gar- 
den. I  will  not  further  particularise,  but  several 
hours  may  be  spent  in  examining  the  objects 
in  this  single  courtyard  alone,  many  of  which 
are  extremely  interesting.  From  the  base  of 
the  oratory  containing  this  relief  is  also  ob- 
tained one  of  the  best  views  of  the  church  and 
campanile. 

The  second  cloister,  known  as  the  Chiostro 
Verde,  is  decorated  with  very  faded  frescoes, 
in  shades  of  green,  representing  the  history  of 
Genesis.  There  is  a  good  general  view  of  the 
church  and  campanile  from  the  farther  end  of 
this  cloister. 

The  green  frescoes,  I  fear,  will  scarcely  in- 
terest you  at  first,  and  may  be  passed  over  with 
a  few  glances  on  a  preliminary  visit.  But  you 
must  return  to  them  later  on,  because,  defaced 
and  destroyed  as  they  are  (more  so  within  my 
own  memory),  they  are  yet  important  links  in 
the  history  of  Renaissance  art,  and  especially 
in  the  development  of  perspective,  anatomical 


62  Florence. 

knowledge,  and  the  drawing  of  the  nude  human 
body.  (See  Layard's  Kugler,  under  Paolo 
Uccello.)  They  represent  the  incidents  of 
Genesis,  by  various  hands  ;  but  the  best  are 
the  Sacrifice  of  Noah,  and  the  Deluge,  by 
Paolo  Uccello,  not  in  the  least  sacred,  and  full 
of  admirable  naturalistic  incidents.  They  help 
to  bridge  over  the  gap  in  this  church  between 
Giottesques  like  Orcagna  and  late  fifteenth 
century  Renaissance  painters  like  Filippino 
Lippi  and  Ghirlandajo.  I  will  not  dwell  upon 
them  now,  but  advise  you,  at  some  future  time, 
when  your  conceptions  of  the  evolution  of  art 
in  Tuscany  have  become  clearer,  to  return  to 
them  for  some  hours  at  least  of  patient  study. 

A  door  to  the  right  of  the  entrance  gate 
leads  into  the  famous  Cappella  degli  Spagnuoli, 
or  Spanish  Chapel,  whose  beautiful  external 
architecture,  with  twisted  columns,  should  be 
observed  before  entering.  It  was  erected  about 
1340  by  a  rich  Florentine  citizen,  for  the  cele- 
bration of  the  Festival  of  Corpus  Christi,  then 
newly  instituted.  Its  present  name  dates  only 
from  the  age  of  Cosimo  I.,  who  assigned  it  to 
the  suite  of  Eleanor  of  Toledo. 

This   chapel  is   the   finest    existing    example 


The  Spanish  Chapel.  63 

(save  the  Arena  at  Padua)  of  a  completely 
decorated  Giottesque  interior.  The  frescoes 
are  by  uncertain  artists,  but  rank  among  the 
noblest  productions  of  their  period.  It  would 
require  many  days  adequately  to  examine  all 
the  beautiful  objects  which  this  building  con- 
tains. I  will  therefore  call  attention  in  detail 
to  a  few  only.  Those  first  mentioned  are 
peculiarly  appropriate  to  a  Chapel  of  the  Cor- 
pus Christi. 

On  the  altar  wall,  facing  you  as  you  enter, 
is  the  History  of  the  Passion,  in  consecutive 
sections,  after  the  early  fashion,  probably  by 
an  artist  of  the  school  of  Siena.  On  the  left 
is  the  Way  to  Calvary  ;  above  it,  the  Crucifixion, 
every  detail  of  which  should  be  closely  studied. 
Notice  in  particular  St.  Longinus,  the  centurion 
who  pierced  the  side  of  Christ,  and  who  was 
afterward  converted,  distinguished  by  his  halo. 
On  the  right  is  Christ  descending  to  Hades, 
and  liberating  the  souls,  with  the  crushed  and 
baffled  demons.  First  among  the  dead  are 
Adam,  Abel  with  his  lamb,  and  the  various 
Patriarchs.  Every  detail  in  these  three  works 
will  give  a  key  to  other  compositions. 

The  compartment  of  the  ceiling  above  this 


64  Florence. 

fresco  represents  the  Resurrection,  with  Christ 
in  a  mandorla ;  the  Three  Women  at  the  tomb ; 
and  Christ  and  the  Magdalen  in  the  Garden. 
Observe  once  more  every  detail  of  this  beauti- 
ful composition :  it  is  probably  the  work  of 
Antonio  Veneziano.  (But  do  not  trouble  much 
at  this  stage  about  these  artists  ;  confine  your 
attention  to  the  details  of  the  action.) 

The  right  wall  contains  a  very  famous  **  fresco, 
commonly  attributed  to  Taddco  Gaddi,  but  much 
more  probably  a  work  of  Simone  Martini  or 
some  other  artist  of  the  early  school  of  Siena 
(Cavalcaselle  attributes  it  to  Andrea  di  Firenze). 
It  represents  the  Way  to  Paradise,  especially  as 
shown  by  the  Dominican  Fathers.  Study  this 
noble  allegorical  work  in  full  detail.  Below, 
on  the  left,  is  the  Church  Militant,  represented 
by  the  original  design  of  the  cathedral  at 
Florence,  as  sketched  by  Arnolfo,  with  Giotto's 
fagade,  and  the  Campanile  beside  it.  Below 
this,  as  in  the  Dantesque  ideal,  —  that  splendid 
embodiment  of  mediaeval  Christian  theory,  —  sit 
enthroned  the  spiritual  and  temporal  authorities, 
the  Pope,  with  his  pastoral  staff,  and  the  Em- 
peror, with  his  sword  and  ball ;  at  whose  feet 
lie  the  Faithful,  represented  as  a  flock  of  sheep, 


The  Spanish  Chapel.  6^ 

and  guarded  by  black  and  white  dogs,  the  do7n- 
ini  canes,  or  Dominicans.  To  the  left  of  the 
Pope  are  the  various  Church  dignitaries,  — 
cardinal,  archbishop,  bishop,  priest,  deacon,  and 
monks  and  nuns  of  the  various  orders,  each 
in  the  garb  of  their  profession  or  monastic 
body.  Foremost  among  them  observe  the  black 
and  white  robes  of  the  Dominicans,  closely 
allied  with  their  Franciscan  brethren.  To  the 
right  of  the  Emperor,  again,  stand  the  various 
temporal  authorities,  —  kings,  princes,  mar- 
quises, dukes,  lawyers,  burghers,  gentlefolk, 
pilgrims,  artisans,  beggars,  and  women.  (Most 
of  these  are  said  to  be  contemporary  portraits 
—  the  Pope,  Benedict  XI.  ;  the  Emperor,  Henry 
VII.  ;  the  King,  Philippe  le  Bel  of  France ;  the 
Bishop  of  Florence  of  the  period,  and  so  forth  ; 
while  others  are  considered  on  merely  tradi- 
tional authority  to  be  Cimabue,  Arnolfo,  Giotto, 
Petrarch,  Laura,  etc.  I  advise  you,  however, 
to  pay  little  attention  at  first  to  such  real  or 
supposed  portraits,  the  identification  of  which 
merely  distracts  you  from  the  underlying  im- 
port and  beauty  of  the  picture.  In  any  case, 
the  poets  and  painters  at  least  seem  to  be 
wrongly   named.      Thus,    the    cavalier    in    the 


6S  Florence. 

curious  white  hood,  usually  pointed  out  by  the 
guides    as    Cimabue,    is    much    more    probably 
Walter  de  Brienne,  Duke  of  Athens,  who  also 
appears   on    a  white  horse  in  the  Crucifixion.) 
Kvv^  "  ^ '^-  '  ,  The    whole    assemblage    thus    represents    the 
<3''-^^'\j„y*    ^   mediaeval    world,   temporal   and    spiritual.     Be- 
v-v-     ^>'''  ,      yond  these,  to  the  right,  is  the  Way  to  Paradise, 
x\^iR^  .^^^      Dominican    Fathers    pointing    the    road,    and 
^r,^'^  (^'^      arguing  and  expostulating  with  heretics,  whom 
«■    5>.»^  >;.v      St.  Thomas  Aquinas,  on  the  extreme  right,  is 
'^'l-'v*-*''   t,.'i^''^''=^^'confuting,  so  that  some  of  them  tear  up  their 
V>-**   <_or""    ,      heretical   books,   while   others    stop    their   ears 
<^^  !-'-''■'  and  refuse  to  listen.     Oriental  costumes  frepre- 

t.  ''^-  senting    Eastern    sectaries)    may    be    detected 

"^'^'^'jp,.  ■    among  them.     In  the  foreground,  the  Domini- 
^  :f^  ^  -s,..      cans,  as  black  and  white  dogs,  are  worrying  the 
^  J^'"  ^ \-i:     ,-,  heretical   teachers   under  the  guise  of    wolves, 
^^*'k'^    V'     .  thus  symbohsing  the  terrible  functions  of  the 
Inquisition.      In  the  second  tier,  winding  around 
above  to  the  right,  are  seen  the  pleasures  and 
vanities    of   this    wicked    world,    with    dancing 
figures ;  while  a  Dominican  Father  is  showing 
souls   the  way  to  heaven,  and  another  is  giv- 
ing absolution  to  sinners.     These  figures  thus 
represent  Sin,  Confession,  Absolution,  and  Peni- 
tence.    Farther  to  the  left,  again,  the  Souls  of 


!><' 


^' 


The  Spanish  Chapel.  67 

the  Righteous,  a  joyous  company,  are  being 
welcomed  and  crowned  by  delicious  little  angels 
at  the  Gate  of  Heaven,  where  St.  Peter  with 
the  keys  stands  to  open  the  door  for  them. 
Within  is  a  vista  of  the  Heavenly  City,  with 
adoring  saints,  among  whom  St.  Lawrence  and 
St.  Paul  are  specially  conspicuous.  Over  the 
dome  of  the  church,  too,  is  seen  the  half-figure 
of  the  great  Dominican  nun,  St.  Catherine  of 
Siena.  Thus  this  part  of  the  picture  symbol- 
ically represents  the  Church  Triumphant,  as 
that  below  represents  the  Church  Militant.  The 
whole  composition  is  crowned  by  Christ  in  Glory, 
with  adoring  angels. 

I  have  given  here  only  a  brief  outline  of  this 
noble  glorification  of  the  Dominican  Order ; 
but  attentive  observers  will  discover  for  them- 
selves many  other  interesting  and  curious 
features  which  I  have  been  compelled  by  con- 
siderations of  space  to  pass  by  in  silence. 

The  compartment  of  the  ceiling  above  this 
fresco  represents  the  Ship  of  the  Church, 
under  the  guise  of  the  Apostles  on  the  Sea  of 
Galilee,  with  Christ  and  Peter  walking  on  the 
water.  It  is  partly  copied  from  Giotto's  famous 
mosaic,  now  built  into  the  newer  St.  Peter's  at 


68  Florence. 

Rome.  The  quaint  fisherman  to  the  left  is 
common  to  both  of  them. 

The  entrance  wall  has  a  Last  Supper,  and 
frescoes  of  the  History  of  St.  Dominic  and 
St.  Peter  Martyr,  the  founder  and  the  holy 
man  of  the  Dominican  Order. 

The  compartment  of  the  ceiling  above  these 
has  an  Ascension,  with  Christ  in  a  mandorla, 
the  apostles  and  Madonna,  and  the  messenger 
angels  (by  Taddeo  Gaddi  ?). 

The  left  wall  contains  a  highly  allegorical 
and  architectural  picture,  doubtless  correctly 
ascribed  to  Taddeo  Gaddi,  and  representing  the 
Glory  of  St.  Thomas  Aquinas.  Above,  the 
Saint  is  seated,  enthroned,  with  the  open  book, 
as  the  Doctor  of  the  Church,  and  the  great 
Dominican  teacher.  Beneath  his  feet  are  the 
discomfited  heretics,  Arius,  Sabellius,  and  Aver- 
rhoes.  (See  the  similar  scene  by  Benozzo  Goz- 
zoli  in  the  Louvre.)  By  his  side  are  the  great 
teachers  among  the  Prophets  and  Apostles,  their 
names  inscribed  beneath  them.  On  the  right 
are  St.  Matthew  and  St.  Luke  the  Evangelists, 
Moses  with  his  conventional  horns,  Isaiah,  and 
King  Solomon  ;  on  the  left,  St.  John  and  St. 
Mark  the  Evangelists,  St.  Paul,  the  great  organ- 


TVDDEO  GADDI.  —  GLORY  OF  ST.  THOMAS  AQUINAS  (DETAIL). 


The  Spanish  Chapel.  69 

iser  of  Christian  teaching,  David  as  the  Psalmist, 
and  Job  as  the  dialectician  of  the  Old  Testa- 
ment. Thus  these  figures  represent  Doctrine 
and  Dogma  under  both  dispensations.  Only 
in  this  Dominican  church  could  a  great  Domini- 
can teacher  be  so  highly  exalted  at  the  expense 
of  the  earlier  canonical  writers.  Note  the  angels 
above,  with  their  various  symbols. 

The  lower  tier  consists  of  symbolical  figures 
of  the  Arts  and  Sciences,  with  various  person- 
ages at  their  feet  distinguished  for  proficiency 
in  them.  The  following  is  their  order  from  left 
to  right  :  Civil  Law,  with  Justinian ;  Canon 
Law,  with  Pope  Clement  V.  (a  portrait) ;  Prac- 
tical Theology,  with  Pietro  Lombardo,  "  magis- 
ter  sententiarum  ;  "  Speculative  Theology,  with 
Boethius ;  Faith,  with  St.  Dionysius  the  Areop- 
agite ;  Hope,  with  St.  John  of  Damascus ; 
Charity,  with  St.  Augustine  ;  Arithmetic,  with 
Pythagoras  ;  Geometry,  with  Euclid ;  Astron- 
omy, with  Ptolemy  ;  Music,  with  Tubal-Cain ; 
Dialectic,  with  Aristotle ;  Rhetoric,  with  Cicero  ; 
and  Grammar,  with  Priscian.  The  whole  thus 
represents  the  philosophical  and  teaching  faculty 
of  the  Dominicans,  as  the  opposite  side  repre- 
sents  their   pastoral    activity    in    saving  souls. 


70  Florence. 

The  two  great  frescoes  may  indeed  be  dis- 
tinguished as  the  spiritual  and  temporal  mission 
of  the  Dominicans. 

The  compartment  of  the  ceiling  above  this 
fresco  represents  the  Descent  of  the  Holy 
Ghost  on  the  Day  of  Pentecost  (by  Taddeo 
Gaddi  ?).  The  Spirit,  as  a  dove,  is  descending 
from  heaven,  while  tongues  of  fire  alight  on 
the  heads  of  the  Madonna  and  Apostles,  chief 
among  whom,  in  accordance  with  the  authorita- 
tive character  of  Dominican  teaching,  is  natu- 
rally St.  Peter.  Below,  by  the  closed  doors,  are 
the  various  nations,  who  hear  the  Apostles 
speak  with  tongues,  each  understanding  that  of 
his  own  country.  Observe  the  Moors  and  the 
Oriental  costume  of  some  of  the  characters. 

Come  often  to  this  chapel  until  you  have 
learned  to  understand  its  architectural  plan 
and  have  puzzled  out  such  of  its  infinite  details 
as  cannot  here  be  adequately  explained  to  you. 
It  is  not  well,  indeed,  to  be  told  everything.  I 
shall  be  quite  satisfied  if  I  put  you  on  the  track, 
leaving  you  to  find  out  many  points  for  yourself. 
But  sit  long  and  observe,  remembering  that 
everything  in  this  Chapter-house  of  Dominican- 
ism  is  full  of  meaning.     In  my  judgment,  too, 


The  Spanish   Chapel.  71 

these  pictures  are  as  beautiful  as  works  of  art 
as  they  are  important  as  a  body  of  Dominican 
theology.  The  little  group  of  the  Souls  as  they 
enter  Heaven  is  one  of  the  most  charming  and 
attractive  conceptions  of  all  Giottesque  painting. 
It  is  impossible  to  overestimate  the  value  of 
photographs  for  the  study  of  frescoes,  especially 
when  the  originals  are  either  defaced  or  faded. 
Every  one  knows  how  fatiguing  it  is  to  stand 
long  in  a  church  and  look  up  at  the  walls.  The 
photograph  you  can  inspect  at  your  leisure  at 
home,  and  so  familiarise  yourself  at  least  with 
the  composition  and  the  story  of  the  subject. 
After  you  have  thus  got  to  know  the  picture  in 
black  and  white,  return  to  the  church  to  examine 
it  again.  You  will  then  find  that  the  colour 
and  the  size,  as  well  as  the  artist's  touch,  vivify 
and  brighten  what  in  the  photograph  was  often 
dead  and  meaningless.  Also  the  photograph, 
besides  giving  you  the  composition  in  a  measur- 
able space  which  the  eye  can  grasp,  so  general- 
ises the  figures  as  often  to  supply  in  effect 
missing  lines  and  obscure  portions.  Of  course 
you  must  not  rely  on  the  photograph  alone ; 
but,  when  used  in  conjunction  with,  and  as 
supplementary  to,  the  frescoes  themselves,  these 


72  Florence. 

secondary  aids  are  simply  invaluable.  I  advise 
you  to  apply  them  here  in  particular  to  the 
Ghirlandajos  of  the  choir  (especially  for  com- 
parison with  the  two  Lives  of  the  Virgin  by 
Taddeo  Gaddi  and  Giovanni  da  Milano  in  Santa 
Croce),  and  also  to  the  frescoes  of  the  Spanish 
Chapel.  If  you  wish  to  specialise,  I  would 
suggest  as  the  best  theme  the  subject  of  the 
Presentation  of  the  Virgin  in  the  Temple,  which 
is  treated  by  all  three  of  these  successive  artists, 
as  well  as  by  several  panel-painters  at  the  Belle 
Arti. 

Above  all,  seek  to  learn  the  legends.  Re- 
ligious symbolism  is  the  language  of  early  art : 
you  cannot  expect  to  understand  the  art  if  you 
will  not  take  the  trouble  to  acquire  the  language. 

If  you  read  French,  and  wish  to  go  deeper 
into  the  paintings  in  this  church  and  elsewhere 
in  Florence,  get  Lafenestre's  "  Florence,"  in 
the  series  of  "La  Peinture  en  Europe,"  —  a 
capital  book  which  gives  a  full  account  of  every 
noteworthy  picture  in  the  city. 


CHAPTER   VI. 

THE    OLD    CATHEDRAL. 

AFTER  the  Dominicans  and  the  Franciscans, 
the  town  began  to  bestir  itself. 
In  Dante's  time,  we  saw  the  only  church  of 
any  importance  which   Florence  yet  possessed 
was   the    old    octagonal    Baptistery,    then   the 
Cathedral    of    San     Giovanni     Battista.       This 
building  (praised  by  Dante  beyond  its  merits, 
because  the  town   had  then  none  better)  is  a 
small    and  not   wholly    successful  specimen  of 
that  beautiful  Tuscan-Romanesque  architecture, 
which  reaches  so  splendid  and  typical  a  develop- 
ment in  the  Cathedral  of  Pisa  and  its  surround- 
ing  edifices.     If   you    have  not  been   to  Pisa,         ■^^.^j^'^^ 
however,  you  can  only  compare  San  Giovanni    "^^  ^""'^'t^ 
with  the    church    of   San   Miniato  on  the  hill  I^-^j^^S'--'''^  ^ 
south  of   Florence  (which  go  up  to  see  after '5>-**'-'^^w^-^ 
inspecting  the  Baptistery).     But  San  Giovanni ^^.j*^  *f_- 
was,  m  Its  origmal  condition,  a  much  more  in-  ~*'-''>'^  «--«j-?**^ 
73 


74  Florence. 

significant  building  than  at  present,  its  chief 
existing  external  ornaments  being  the  great 
bronze  doors,  and  the  bronze  or  marble  statues, 
which  were  added  later. 

At  the  end  of  the  thirteenth  century,  once 
more,  when  Santa  Croce  and  Santa  Maria  No- 
vella were  rapidly  rising  in  the  garden  belt 
outside  Florence,  the  city  began  to  be  not  un- 
naturally ashamed  of  this  mean  little  cathedral, 
Pisa  had  already  her  magnificent  group  of  build- 
ings fully  completed ;  Siena,  stirred  to  rivalry, 
had  begun  and  nearly  finished  her  noble  and 
beautiful  Duomo.  Florence,  now  risen  to  the 
first  position  in  Tuscany,  felt  it  incumbent  upon 
her  to  produce  a  building  which  should  outdo 
both  of  them.  In  this  design,  indeed,  she  was 
not  wholly  successful :  her  Duomo,  though 
larger  than  either,  fails  to  come  up  to  its  elder 
rivals  in  many  important  points  of  beauty. 
Fully  to  understand  the  Cathedral  of  Florence, 
therefore,  you  should  have  seen  first  both  Pisa 
and  Siena,  on  which  it  is  based,  with  enormous 
differences.  At  Pisa,  the  actual  dome,  above 
ji->^^  <v>  the  intersection  of  nave  and  transept,  is  rela- 
Cp^  '-*^&^  tively  insignificant.  At  Siena  it  assumes  some- 
•-*^^'^   oJ>^what  larger  proportions.     At  Florence,  even  as 


The  Old  Cathedral.  75 

originally  designed  by  Arnolfo,  it  was  to  be 
very  much  bigger,  and,  as  completed  by  Brunel- 
leschi,  it  far  outdid  all  previous  efforts. 

The  Baptistery  had  of  course  been  dedi- 
cated, like  all  other  baptisteries,  to  St.  John 
the  Baptist,  who  was  therefore  the  patron  saint 
of  Florence.  But  the  increasing  importance  of 
the  Holy  Virgin  in  the  thirteenth  century  (see 
my  "Paris,"  under  Notre-Dame)  made  the  Flor- 
entines desire  to  dedicate  this  their  new  cathe- 
dral to  Our  Lady.  It  was  therefore  erected  in 
honour  of  Santa  Maria  del  Fiore,  that  is  to 
say.  Our  Lady  of  the  Florentine  Lily,  which 
appears  in  the  city  arms,  and  pervades  all 
Florence.  You  will  see  it  everywhere.  The 
Duomo  was  begun  in  1294,  on  the  site  occu- 
pied by  the  earlier  church  of  Santa  Reparata, 
who  also  ranked  as  one  of  the  chief  patron 
saints  of  old  Florence.  As  usual  in  such  cases, 
many  memorials  of  the  saint  of  the  original 
dedication  survive  to  this  day  in  the  existing 
building.  The  first  architect  was  Arnolfo  di 
Cambio,  a  pupil  of  Niccolo  Pisano,  who  executed 
the  beautiful  pulpit  in  the  Baptistery  at  Pisa, 
where  antique  work  is  first  imitated.  (Recol- 
lect too  that   Giovanni   Pisano,  who  built  the 


76  Florence. 

cathedral  of  Siena,  was  himself  a  son  of  Nic- 
C0I6.)  Thus,  in  order  fully  to  understand  the 
sequence  and  meaning  of  these  three  cathedrals, 
with  their  sculpture  and  architecture,  you  should 
(if  possible)  pay  visits  to  them  in  the  order  of 
Pisa,  Siena,  Florence,  with  Bologna  thrown  in 
on  your  way  homeward.  This  alone  will  enable 
you  to  understand  the  marvellous  influence  of 
the  Pisani,  and  especially  of  that  singular  and 
original  artist,  Niccol6,  the  first  mediaeval 
craftsman  who  aimed  at  imitation  of  and 
rivalry  with  the  antique. 

Arnolfo's  work  was  afterward  carried  on  by 
Giotto,  who,  like  most  men  of  his  century,  was 
architect  and  sculptor  as  well  as  painter.  It 
was  Giotto  who  added  to  the  original  design  the 
beautiful  marble-crusted  Campanile,  the  noblest 
work  of  its  sort  in  Italy.  The  fresco  of  the 
Church  Militant  and  Triumphant  in  the  Spanish 
Chapel  shows  the  original  form  intended  for  the 
cathedral  by  Arnolfo,  with  the  additions  made 
by  Giotto  and  Taddeo  Gaddi.  The  exterior 
was  gradually  incrusted  during  successive  ages 
with  its  beautiful  polychromatic  marble  coating, 
with  the  exception  of  the  fa9ade,  the  lower  part 
of  which  alone  was  so  adorned,  as  may  be  seen 


The  Old  Cathedral.  77 

in  Poccetti's  lunette  in  the  cloisters  of  San 
Marco,  to  be  hereafter  mentioned.  This  facade 
was  afterward  pulled  down,  and  the  front  of  the 
cathedral  remained  a  shapeless  mass  of  rubble, 
like  that  of  San  Lorenzo,  till  1875.  The  dome, 
with  its  beautiful  ribs,  which  make  it  so  much 
lovelier  than  any  other,  was  designed  by  Brunel- 
leschi,  and  constructed  in  1420-34.  The  fagade, 
which  is  quite  modern,  was  added  by  Dc  Fabris 
in  1875. 

A  full  study  of  the  Cathedral  of  Florence 
with  its  group  of  subsidiary  buildings  can  only 
be  attempted  with  the  aid  of  a  thorough  archi- 
tectural description.  You  must  arrive  at  it 
gradually.  I  will  content  myself  with  pointing 
out  a  few  of  the  more  salient  elements  likely  to 
interest  the  general  reader.  If  you  wish  to  know 
more,  run  down  to  Pisa,  and  up  to  Siena,  and 
study  carefully  the  work  of  the  Pisani.  Recol- 
lect that  while,  in  painting,  Florence  was  fairly 
original,  in  architecture  and  sculpture  she  did 
but  follow  the  much  earlier  lead  of  the  two 
other  great  Tuscan  cities. 

Remember  then,  in  the  first  place,  that  the 
Baptistery  is  practically  the  oldest  building  in 
Florence,  and  is  the  original  cathedral,  but  that 


78  Florence. 

most  of  its  external  decorations  are  of  later 
date ;  and  in  the  second  place,  that  it  is  dedi- 
cated to  St.  John  the  Baptist,  and  that  all  its 
parts  have  reference  to  its  purpose  and  dedica- 
tion ;  that  the  cathedral  is  dedicated  to  Our 
Lady,  and  that  it  replaces  an  older  church  of 
Santa  Reparata ;  and  that  it  owes  its  existing 
form  to  the  successive  efforts  of  many  great 
architects. 

A   few  more   points    must    be    noted.     The 

cathedral,    when    completed,    was    the    largest 

church  then   existing  in   Italy.     St.  Peter's  at 

Rome  was  designed  to  outdo  it.     Its  dome  was 

the  biggest  ever  yet  erected  :  view  it  from  the 

Piazzale   Michael   Angelo   on   the  way  to   San 

Miniato,    and    observe    how    its    ribs    make    it 

:^,  '^^      much   more  beautiful  and    effective    than    any 

u»-^'*'I        other  dome.      In  addition  to   its   original   and 

c»^-^"*''^;;^\^secondary  patrons,  the  cathedral  also  contained 

''*"^^>^       the  remains  of  the  local  holy  bishop,  St.  Zeno- 

bius  (San  Zanobi),  who  was  of  great  importance 

in  early  times  as  an  object  of  cult  in  Florence. 

The  Duomo,  again,  was  confessedly  erected  (in 

the  document  which  decrees  it)  as  a  monument 

worthy  in  size,  dignity,  and  beauty,  not  of  its 

sacred  use,  but  of  the  Florentine  people.     Few 


The  Old  Cathedral.  79 

churches  are,  on  the  whole,  so  much  a  national 
monument,  and  so  little  a  place  of  divine  wor- 
ship. Everything  here  is  sacrificed  to  the 
beauty  and  size  of  the  exterior,  which  is  vast 
and  impressive.  The  interior,  on  the  other 
hand,  being  destitute  of  vistas  and  long  rows 
of  columns,  looks  very  much  smaller  than  it 
really  is,  and  contrasts  most  unfavourably  in 
this  respect  with  the  immense  apparent  size  of 
Pisa.  The  architects  fell  into  the  mistake  of 
thinking  that  by  making  all  the  parts  large,  you 
would  gain  an  idea  of  vastness  —  which  is  quite 
untrue.  You  can  comprehend  its  great  actual 
size  only  by  visiting  it  again  and  again.  There 
is  little  or  nothing,  however,  to  explain  or 
understand.  You  must  dwell  upon  it,  and  it 
grows  upon  you.  I  do  not  enlarge  upon  the 
history  of  the  church,  because  that  you  must 
read  up  in  Miss  Horner,  Mrs.  Oliphant,  Fer- 
gusson,  and  elsewhere.  See  also  Perkins's 
"Tuscan  Sculptors." 

To  visit  first  the  oldest  cathedral,  go  along 
the  Via  Cerretani  as  far  as  the  Piazza  which  con- 
tains the  Baptistery.  The  column  of  speckled 
marble  which  faces  you  to  the  right,  just  north 
of  the  Baptistery,  was  erected  to  commemorate 


8o  Florence. 

a  miracle  which  took  place  on  the  translation  of 

the  remains  of  St.  Zcnobius  from  San  Lorenzo. 

A  tree  which  grew  on  this  spot  burst  suddenly 

into  leaf,  out  of  due  season,  as  the  body  of  the 

V'*--'*'^    saint  was  being  carried  by.    You  will  find  many 

'^^  »i»^"~  jfcj^pictures  of  this  curious  miracle   in   Florentine 

^^ , -'^^^•^galleries.     Remember  it. 

f>*-**^>oJ»*^  To  your  right  stands  the  Baptistery  itself, 
^*^^^'''\>y'€^  the  original  cathedral.  It  is  an  octagonal  build- 
j-jj^  ■  ing,  perhaps  enclosing  portions  of  an  early 
Roman  Temple,  but  entirely  rebuilt  and  en- 
cased in  marble  in  the  twelfth  century.  Notice 
the  three  different  stories  of  which  it  is  com- 
posed :  its  Tuscan-Romanesque  style,  its  round 
arches,  its  flat  pilasters,  its  windows  (later  in 
their  present  form),  and  its  octagonal  cupola 
(best  observed  from  neighbouring  heights,  such 
as  the  Piazzale  on  the  Viale  dei  Colli).  Walk 
right  around  the  church  and  note  the  square 
apse  or  tribune  on  the  west. 

Being  a  baptistery,  this  building  is  mainly 
decorated  with  (late)  works  referring  to  the 
life  of  the  Baptist.  The  groups  above  the 
doors,  externally,  consist  each  of  three  figures. 
Over  the  door  to  the  north  is  the  Preaching 
of  St.  John  the  Baptist,   a  trio  in   bronze  by 


BAPTISTERY. 


The  Old  Cathedral.  81 

Francesco  Rustic!  (15 11),  said  to  have  been 
designed  by  Leonardo  da  Vinci.  The  hearers 
represent  a  Pharisee  and  a  Sadducee.  Over 
the  door  to  the  east  (facing  the  cathedral),  is 
the  Baptism  of  Christ  by  John,  a  work  of 
Andrea  Sansovino,  1502.  The  angel  is  later. 
This  set  is  of  marble.  Over  the  door  to  the 
south  is  the  Beheading  of  John  the  Baptist,  in 
bronze,  by  Vincenzo  Danti  (15 17),  where  the 
third  figure  is  ingeniously  made  up  by  Hero- 
dias's  daughter  waiting  for  the  head  with  a 
charger.  These  three  groups  thus  represent 
in  this  order  the  principal  events  in  the  life 
of  the  patron. 

The  bronze  doors  beneath  are  celebrated. 
The  first  and  oldest  of  these  is  on  the  south 
side,  below  the  Beheading  of  John  the  Baptist. 
It  was  completed  by  Andrea  Pisano,  the  pupil 
of  Giovanni  (perhaps  a  grandson  of  Niccolo), 
in  1336,  and  is  the  oldest  work  of  art  of  its 
sort  of  any  importance  in  Florence.  It  marks, 
in  fact,  the  beginning  of  the  desire  for  the 
plastic  embellishment  of  the  city.  This  gate 
should  be  compared  with  that  of  Bonannus  in 
the  cathedral  at  Pisa,  a  rude  twelfth  century 
work    on    which    it    is    evidently    based.     Con- 


82  Florence. 

trasted  with  its  original,  it  exhibits  the  great 
improvement  in  style  effected  by  the  Pisani ; 
but  at  the  same  time,  if  compared  with 
Niccolo's  reliefs  on  the  pulpit  at  Pisa,  it 
shows  the  sad  falling  off  in  the  Pisan  school 
after  the  death  of  that  great  and  original  artist, 
who,  even  more  than  Giotto,  inaugurated  the 
revival  of  art  in  Italy.  The  reliefs  represent 
scenes  from  the  life  of  the  patron  saint,  John 
the  Baptist.     They  run  as  follows  : 

On  the  left  door,  at  the  top,  in  the  first  relief, 
the  angel  appears  to  Zacharias  in  the  Temple : 
notice  the  great  simplicity  of  the  treatment,  as 
in  Giotto.  In  the  second,  Zacharias  is  struck 
dumb.  In  the  third  is  the  Visitation  of  Mary 
to  Elizabeth.  (All  these  scenes  are  conventional, 
and  based  upon  earlier  treatments :  compare 
the  arch  in  the  background  here,  as  well  as  the 
relative  positions  of  the  Madonna  and  St.  EHza- 
beth,  with  those  you  will  find  in  comtemporary 
painting.  This  arch  is  most  persistent).  The 
fourth  represents  the  Birth  of  the  Baptist.  In 
the  fifth  Zacharias  writes,  "  His  name  is  John." 
In  the  sixth  the  young  John  departs  to  the 
wilderness.  This  delicious  scene  strikes  the 
key-note  for  many  subsequent  Florentine  treat- 


ANDREA    PISANO.  —  BRONZE    DOORS    OF    THE    BAPTISTERY. 


The  Old  Cathedral.  83 

ments  of  the  boy  Baptist,  who  becomes  with  the 
Renaissance  a  most  typical  Florentine  figure. 
The  subject  of  the  seventh  is  the  Preaching  of 
John.  In  the  eighth,  Jesus  comes  to  Jordan. 
In  the  ninth,  John  baptises.  (The  gates  were 
once  richly  gilded ;  traces  of  the  gilding  appear 
best  on  this  relief).  The  tenth  relief  represents 
the  Baptism  of  Christ,  where  the  positions  of 
St.  John  and  the  angel  are  strictly  conventional, 
as  is  also  the  symbolical  Jordan.  Note  all  the 
figures  and  attitudes  carefully.  Omit  the  lower 
panels  for  the  present. 

On  the  right  door,  beginning  again  at  the 
top,  the  eleventh  relief  shows  John  the  Baptist 
before  Herod.  In  the  twelfth,  John  is  sent  to 
prison  ;  in  the  thirteenth,  he  is  visited  by  his 
disciples  ;  this  scene  also  recurs  very  frequently. 
In  the  fourteenth,  Christ  declares,  "There  hath 
not  risen  a  greater  than  John  the  Baptist." 
The  fifteenth  shows  Herodias's  daughter  danc- 
ing (the  fiddler  in  this  scene  is  conventional : 
look  out  for  reappearances)  ;  the  sixteenth 
represents  the  Decollation  of  St.  John.  In  the 
seventeenth,  the  head  is  brought  to  Herodias's 
daughter ;  in  the  eighteenth,  she  gives  it  to  her 
mother :    again   a  scene  closely  followed  later. 


84  Florence. 

In  the  nineteenth,  the  disciples  carry  the 
body  down  to  burial ;  the  twentieth  shows  the 
entombment  of  John,  Notice  the  conventional 
representation  of  an  interior  by  a  canopy  or 
symbolical   roof. 

All  these  reliefs  should  be  most  carefully 
studied,  both  as  scenes  in  the  history  of  John 
which  occur  abundantly  elsewhere  {see  the  sil- 
ver altar  from  this  very  church  in  the  Opera 
del  Duomo),  and  also  as  specimens  of  that 
Gothic  art  which  replaced  the  earlier  attempted 
classical  revival  by  Niccolo  Pisano.  The  fact  is, 
Niccolo  was  a  man  in  front  of  his  age,  whose 
direct  influence  died  out  at  once,  subsequent 
sculptors  preferring  a  treatment  more  conso- 
nant with  the  architecture  and  painting  of  the 
moment. 

The  eight  lower  panels  contain  admirable  alle- 
gorical figures  of  the  Cardinal  Virtues.  Each 
is  named  legibly  beside  it.  Note  them  as  ex- 
amples of  the  embodied  allegories  so  popular 
during  the  Gothic  period.  The  Renaissance 
adornment  at  the  sides  of  the  doors  was  added 
in  1452  by  Vittorio  Ghiberti,  son  of  the  great 
Lorenzo  whose  main  work  you  have  next  to 
examine. 


The  Old  Cathedral.  85 

Now,  go  round  to  the  second  or  north  door, 
which  comes  next  in  chronological  order  —  a 
hundred  years  later.  Florence  was  by  this  time 
no  longer  dependent  upon  Pisa  for  her  artists. 
At  the  beginning  of  the  fifteenth  century  it  was 
decided  to  make  another  pair  of  bronze  doors, 
and,  after  a  competition  for  the  choice  of  an 
artist,  in  which  Jacopo  della  Querela  and  others 
took  part,  the  Signoria  decided  upon  commis- 
sioning Lorenzo  Ghiberti  to  execute  them.  His 
origin  al  panel  for  the  competition,  together  with 
that  of  his  chief  rival,  Brunelleschi,  may  still  be 
seen  at  the  Bargello.  This  beautiful  door,  in 
fact,  represents  the  first  beginnings  of  Renais- 
sance Sculpture.  (See  Perkins's  "Tuscan  Sculp-  .  _^-  _^. 
tors,"  a  book  which  you  should  assiduously  read  ^cV^r^*-^'' 
up  in  the  evenings.)  Compared  with  Andrea  ^^>c^<>-'^'^^ 
Pisano,  the  composition  is  richer,  the  relief  >f'*^  ' 
higher,  the  treatment  more  naturalistic.  (Or- 
cagna's  reliefs  at  Or  San  Michele  bridge  over 
the  gap  between  the  two  in  the  history  of 
Florentine  sculpture.)  These  gates  are  devoted 
to  the  life  of  Christ,  to  whom  John  testified. 

The  subjects  begin  on  the  left,  third  panel 
from  the  bottom,  and  (unlike  the  last)  run  right 
across  from  door  to  door,  being  continued  up- 


86  Florence. 

ward.  The  first  is  the  Annunciation,  with  the 
usual  loggia  and  lily,  and  God  the  Father  dis- 
charging the  Holy  Spirit :  note  the  greater 
complexity  and  power  of  composition  as  com- 
pared with  Andrea ;  the  second  is  the  Nativ- 
ity ;  the  third,  the  Adoration  of  the  Magi ;  the 
fourth,  the  Finding  of  Christ  in  the  Temple. 
Observe  in  all  the  conventional  treatment. 
Above,  in  the  fifth,  is  the  Baptism  of  Christ 
—  compare  with  the  (simpler)  similar  subject 
on  Andrea  Pisano's  gate,  also  with  the  con- 
temporary pictures ;  in  the  sixth,  the  Temp- 
tation, a  fine  conception,  much  above  any 
previous  one ;  in  the  seventh,  the  chasing  of  the 
money-changers  from  the  Temple  ;  in  the  eighth, 
Christ  and  Peter  on  the  water  ;  in  the  ninth,  the 
Transfiguration ;  in  the  tenth,  the  Raising  of 
Lazarus ;  in  which  note  the  bystanders ;  in  the 
eleventh,  the  Entry  into  Jerusalem ;  in  the 
twelfth,  the  Last  Supper,  a  difficult  composi- 
tion ;  in  the  thirteenth,  the  Agony  in  the  Gar- 
den ;  in  which  all  the  attitudes  are  conventional ; 
in  the  fourteenth,  the  Kiss  of  Judas  ;  the  fif- 
teenth, the  Flagellation  ;  the  sixteenth  shows 
Christ  before  Pilate  ;  the  seventeenth,  the  Bear- 
ing of  the  Cross  (Way  to  Calvary) ;  the  eight- 


The  Old  Cathedral.  87 

eenth,  the  Crucifixion ;  the  nineteenth,  the 
Resurrection,  very  conventional ;  the  twen- 
tieth, the  Ascension. 

All  these  reliefs  should  be  carefully  studied, 
as  realisations  in  plastic  art  of  scenes  which  will 
be  found  in  very  similar  forms  among  painted 
Lives  of  Christ  elsewhere.  (Sec,  for  example, 
the  same  moments  in  the  Fra  Angelicos  in  the 
Belle  Arti.)  The  advance  upon  Andrea  Pisano 
in  composition,  anatomy,  and  treatment  of  na- 
ture should  also  be  noted.  Especially  admi- 
rable in  this  way  is  the  spirited  scene  of  the 
Entry  into  Jerusalem. 

The  eight  panels  below  represent :  in  the 
first  tier,  the  Four  Evangelists,  with  their  sym- 
bolical animals  (irregular  order)  :  Matthew  (an- 
gel), Mark  (lion),  Luke  (bull),  John  (eagle). 
Beneath  them  are  the  Four  Doctors  of  the 
Church,  in  the  order  of :  Ambrose,  Jerome 
translating  the  Vulgate,  Gregory  with  dove  at 
ear,  Augustine  holding  the  De  Civitate  Dei. 
(Each  Doctor  accompanies  the  cognate  Evangel- 
ist.) Traces  of  gilding  are  here  also  abundantly 
apparent.  Ghiberti  was  occupied  upon  this  great 
work  from  1403  to  1424. 

Now,  go  around  to  the  third  or  eastern  door, 


88  Florence. 

which  occupied  Ghibcrti  for  the  remainder  of 
his  lifetime  (142 5- 145  2.)  In  this  marvellous 
task  Ghiberti  abandoned  the  simplicity  of  his 
earlier  style,  and  endeavoured  to  produce,  not 
so  much  reliefs  as  pictures  in  bronze,  with 
effects  of  perspective  not  proper  to  plastic  art. 
The  result  is  nevertheless  most  beautiful  and 
striking.  (Intermediate  works  between  his  two 
styles  may  be  found  in  his  font  at  Siena.) 
These  are  the  doors  which  Michael  Angelo 
declared  fit  for  the  gates  of  Paradise.  See 
them  at  about  ten  o'clock  on  a  bright  morning, 
when  the  sun  strikes  them.  The  subjects  are 
taken  from  the  Old  Testament  history. 

Begin  your  examination  at  the  top  left  panel, 
and    proceed   from    right    to    left,    alternately. 
Each    panel    contains    several    successive    mo- 
ments   in  the    same    subject.     I   will    mention 
the  most  important,  but  several  others  may  be 
s^'       discovered   on   close   inspection.       In    the   first 
s^  ^-^^   panel    are    shown    the   Creation   of   Adam ;   of 
.^g^-*.*^-^  ■  Eve ;  God's   communion  with  Adam;  and  the 

^    ^  Expulsion   from  Paradise  (note  the  fig-leaves). 

^'~^    ■  In  the  second  are  Adam  tilling  the  soil ;  Cain 

and  Abel  at  their  different  vocations ;  their 
sacrifices;   the   murder   of   Abel.      The   third 


LORENZO  GHIBERTI.  —  BRONZE  DOORS  OF  THE  BAPTISTERY. 


The  Old  Cathedral.  89 

represents  the  Exit  from  the  Ark ;  Noah's 
Sacrifice ;  his  Drunkenness,  with  Shem,  Ham, 
and  Japhct.  In  the  fourth  Abraham  entertains 
the  Three  Angels ;  Sarah  at  the  door  of  the 
tent ;  Hagar  in  the  Desert ;  the  Sacrifice  of 
Isaac.  Observe  the  beautiful  stone-pines.  In 
the  fifth,  Esau  with  his  dogs  comes  to  Isaac ; 
Rachel  and  Jacob ;  Isaac  blessing  Jacob,  etc. 
The  sixth  shows  Joseph  and  his  Brethren  in 
Egypt,  several  successive  moments,  including 
the  finding  of  the  cup  in  the  sack.  The  sub- 
ject of  the  seventh  is  the  Giving  of  the  Law  on 
Mount  Sinai.  The  eighth  represents  the  Ark 
carried  round  the  walls  of  Jericho,  with  the 
blowing  of  the  trumpets.  The  ninth  shows 
the  Battle  against  the  Amorites.  In  the  tenth 
Solomon  receives  the  Queen  of  Sheba.  You 
cannot  too  thoroughly  examine  these  marvellous 
bronze  pictures. 

Notice  also  the  exquisite  decorative  heads, 
and  the  figures  of  Biblical  personages,  the  most 
beautiful  of  whom  is  perhaps  Miriam  with  the 
timbrel  to  the  left.  I  strongly  advise  you  to 
get  photographs  of  all  these  subjects,  study 
them  carefully  at  home,  and  then  return  to 
compare  and   reexamine   the    originals.      Only 


90  Florence. 

thus  can  you  gain  some  idea  of  Ghiberti's  life- 
work.  Linger  long  over  such  exquisite  groups 
^   -^   fis  Abraham  and  the  Angels,  or  Esau  and  Isaac. 

--'>'''**''%  Now,  enter  the  Baptistery. 

'\o^*%»  The  interior,  with  its  beautiful  Tuscan-Ro- 
9^  manesque  arcade,  on  the  second   story,  resem- 

bling a  triforium,  is  much  handsomer  and  larger 
than  the  plain  exterior  would  lead  one  to  sup- 
pose. (Outside,  the  cathedral  dwarfs  it.)  Parts 
of  it  are  adorned  with  admirable  early  mosaics. 
The  rest  has  fine  inlaid  marble-work.  It  would 
be  impossible  to  describe  all  these  in  full.  They 
can  be  adequately  seen  only  on  a  very  bright 
morning,  when  it  is  practicable  to  identify  most 
of  the  figures  by  the  aid  of  their  inscriptions. 
The  general  architecture  will  remind  you  of 
Pisa.  The  arch  of  the  tribune,  which  occupies 
the  place  of  an  apse,  perhaps  belongs  in  part  to 
an  early  Roman  building,  —  local  tradition  says, 
a  temple  of  Mars.  Notice  that  the  reliefs  out- 
side the  tribune  bear  reference  to  the  history  of 
St,  John  the  Baptist,  as  does  almost  everything 
else  in  this  building.  On  the  left  is  the  Profes- 
sion of  the  boy  Baptist ;  on  the  right,  his  Preach- 
ing by  the  Jordan,  with  the  approach  of  Christ ; 
farther  to  the  right,  he  baptises  the  Saviour. 


The  Old  Cathedral.  91 

Mount  the  steps  to  the  High  Altar,  an  ugly 
modern  work,  replacing  the  beautiful  media::val 
silver  shrine,  now  in  the  Opera  del  Duomo.  It 
is  supported  by  the  eagles  of  St.  John,  which 
you  will  find  everywhere  on  this  edifice  (as  else- 
where in  Florence),  and  surmounted  by  a  bad 
rococo  group  of  John  the  Baptist  and  angels. 
The  relief  beneath  the  altar  represents  the 
daughter  of  Herodias  receiving  the  head  of 
the  Baptist. 

The  fine  early  mosaic  of  the  apse  (1225) 
should  be  closely  observed  on  a  bright  morning. 
It  represents,  on  the  right,  the  Madonna  and 
Child ;  on  the  left,  St.  John  the  Baptist  en- 
throned ;  in  the  centre,  the  Lamb  with  adoring 
patriarchs  and  prophets.  Note  that  the  figure 
of  the  Lamb  is  specially  appropriate  in  a  church 
of  the  Baptist,  who  first  uses  the  word  "  Behold 
the  Lamb  of  God,"  always  placed  on  a  scroll 
around  the  reed  cross  he  carries.  If  you  will 
search  for  yourself,  you  will  find  that  the  whole 
building  is  full  of  similar  baptismal  symbolism. 

Immediately  to  the  left  of  the  enclosure  of 
the  tribune  is  the  font  (of  1371),  the  only  one 
in  Florence,  all  children  born  in  the  city  being 
baptised  here.      (The  ceremony  takes  place  on 


92  Florence, 

Sunday  afternoons,  and  is  worth  a  visit.)     The 
font  is  adorned  with  good  early  reliefs  of  the 
life  of  the  Baptist,   whose   statue   stands  in   a 
niche  behind  it, 
•   ^.    Now,  go  around  the  church  from  this  point  to 
,^the  left,  noticing  the  beautiful  early  inlaid  pave- 
ment, much  defaced  by  time,  and  representing, 
'   opposite   the    High    Altar,    the    Signs    of    the 
Zodiac. 

Over  the  first  altar,  that  of  St.  Mary  Mag- 
dalen (who  is  often  associated  with  St.  John  the 
Baptist  as  the  female  penitent  in  the  desert  of 
Provence),  stands  her  statue  by  Donatello.  She 
is  represented  nude  and  haggard,  clad  entirely 
with  her  own  long  hair.  These  lean  and  hungry 
penitent  Magdalens  will  be  more  fully  explained, 
with  reference  to  their  legend,  when  we  visit 
the  Belle  Arti.  Compare  there  the  very  similar 
picture,  attributed  to  Andrea  del  Castagno  or 
Filippino  Lippi,  and  balanced  by  a  Baptist. 
Notice  the  inscriptions  and  eagle. 

Just  to  the  right  of  the  High  Altar  is  the 
beautiful  tomb  of  John  XXHL,  "formerly 
Pope"  —  an  anti-Pope  deposed  by  the  Council 
of  Constance,  It  was  erected  by  his  friend 
and  adherent,  Cosimo  de'  Medici,  who  declined 


The  Old  Cathedral.  93 

to  alter  the  inscription  to  please  the  successful 
rival.  The  recumbent  figure  of  the  deceased 
in  gilt  bronze  on  the  tomb  is  by  Donatello,  but 
still  not  beautiful.  Beneath  are  Faith,  Hope, 
and  Charity,  the  first  by  Michelozzo.  The 
Madonna  and  Child  above  are  very  pleasing. 
The  dome  has  early  mosaics  of  Our  Lord  in 
the  centre,  surrounded  by  adoring  Angels.  The 
other  subjects  (best  identified  by  photograph 
beforehand,  and  then  studied  on  the  spot)  are 
the  Last  Judgment,  the  Life  of  the  Baptist,  the 
Life  of  Christ,  the  Story  of  Joseph,  the  Crea- 
tion, and  the  Flood. 


CHAPTER   VII. 

THE    NEW    CATHEDRAL. 

F^ROM  the  old,  proceed   to  the  new  cathe- 
dral :  contrast  its  Gothic  architecture  with 
the  Tuscan-Romanesque  of  the  Baptistery. 

The  modern  facade,  by  De  Fabris,  is  a  fine 
though  florid  piece  of  recent  Italian  Gothic 
workmanship,  and  is  full  of  symbolism,  both  of 
the  Blessed  Virgin  and  of  the  Florentine  Saints 
(Reparata,  Zanobi,  etc.)  especially  commemo- 
rated in  this  cathedral.  To  describe  it  in  full, 
however,  would  be  alien  from  the  historical 
character  of  this  guide-book.  I  will,  therefore, 
only  call  attention  to  the  (patroness)  Madonna 
and  Child,  enthroned,  in  the  great  niche  under 
the  rose  window  (Sarrocchi).  The  saints  to 
right  and  left  have  their  names  inscribed,  and 
the  words  can  be  read  by  the  aid  of  an  opera- 
glass.  Also,  note  the  Assumption  of  the  Ma- 
donna in  a  mandorla,  in  the  pediment,  just 
94 


FAQADE    OF    THE    CATHEDRAL. 


The  New  Cathedral.  95 

beneath,  and  the  figures  of  Santa  Reparata 
and  San  Zanobi  on  either  side  of  the  doorway. 
Those  who  desire  to  follow  the  subject  further 
can  do  so  by  the  aid  of  the  large  designs  in  the 
Museum  of  the  Opera  del  Duomo.  I  cannot 
unreservedly  share  in  the  frequent  English 
utter  condemnation  of  this  florid  and  somewhat 
gaudy  work,  which,  in  spite  of  much  overelab- 
oration  and  a  few  gewgaws,  seems  to  me  not 
wholly  unworthy  of  the  place  it  occupies. 

Proceed  around  to  the  south  side  to  view  the 
earlier  part  of  the  building.  Under  the  first 
window,  is  an  interesting  old  inscription,  which 
should  be  read  by  those  who  know  Latin.  Just 
beyond  it  is  a  charmingly  infantile  mediaeval  relief 
of  the  Annunciation,  where  the  division  between 
the  Madonna  and  the  angel  is  even  more  marked 
than  usual.  Stand  by  the  doorway  of  the  Cam- 
panile, to  examine  the  general  effect  of  the  south 
side.  Observe  the  exquisite  double  windows, 
with  twisted  columns,  and  the  infinite  variety 
of  the  inlaid  marble-work.  (I  cannot  describe 
all  this,  but  go  through  it  slowly.)  Over  the 
first  door,  said  to  be  by  Giotto,  is  a  good  statue 
of  the  Madonna  and  Child,  of  the  fourteenth  cen- 
tury ;  above  it,  Christ  blessing ;  higher  still,  the 


96  Florence. 

Annunciation,  in  two  separate  niches.  Do  not 
omit  to  note  the  architecture  of  all  these  niches, 
and  of  the  columns  which  support  them.  Ob- 
serve that,  as  this  is  a  church  of  Our  Lady, 
almost  all  the  decorations  have  reference  to 
her  history. 

The  second  south  door,  called  the  Canons' 
Entrance,  by  Lorenzo  di  Giovanni  (1397),  has, 
in  the  tympanum,  a  relief  of  the  Madonna  and 
Child,  with  two  adoring  angels,  very  dainty ; 
above  it,  a  Pieta.  Observe  the  decorative  work 
and  statues  on  this  beautiful  doorway,  fore- 
shadowing the  Renaissance.  Close  by,  near 
the  door,  is  one  of  the  best  points  of  view  for 
Giotto's  Campanile. 

Here  the  south  transept,  with  its  round  (or 
rather  obtuse-angled)  apse,  projects  into  the 
Piazza.  Stand  on  the  steps  opposite,  between 
the  statues  of  the  two  principal  architects, 
Arnolfo  and  Brunelleschi  (the  latter  gazing  up 
at  his  great  work),  in  order  to  take  in  the 
arrangement  of  this  transept,  with  its  cupola, 
etc.,  and  the  dome  behind  it,  as  well  as  the 
fine  angular  view  of  the  Campanile.  Do  not 
hurry  over  the  exterior  of  the  cathedral.  Look 
at    it    slowly.       It    cost    many   lives   to    build, 


The  New  Cathedral.  97 

and  is  worth  an  hour  or  two  of  your  time  to 
examine. 

Now,  go  around  the  south  transept,  and  stand 
near  the  door  of  the  Opera  di  Santa  Maria  del 
Fiore  to  look  up  at  the  dome,  whose  cornice 
and  arcade  are  finished  on  this  side  only.  Else- 
where are  seen  the  empty  places  where  a  simi- 
lar arcade  and  cornice  were  to  have  been  carried 
around  it.  Observe  also  the  minor  clustered 
cupolas  below  the  dome.  If  you  will  carefully 
note  the  exterior  architecture  from  this  point  of 
view,  it  will  help  you  better  to  understand  the 
interior.  The  portion  facing  you,  which  would 
elsewhere  be  the  choir,  is  here  devoted  to  the 
Tribune  of  San  Zanobi,  the  great  early  bishop 
and  patron. 

Pass  hence  around  the  north  transept  and  pro- 
ceed to  inspect  the  exterior  of  the  north  aisle. 

The  first  door  is  by  Giovanni  d'  Ambrogio ; 
in  the  tympanum  is  an  Annunciation  in  mosaic 
by  Domenico  and  Davide  Ghirlandajo,  a  beauti- 
ful Renaissance  work,  a  little  out  of  keeping 
with  the  Gothic  exterior ;  above  it,  a  very  fine 
relief  by  Nanni  di  Banco,  Assumption  of  the 
Madonna  in  a  mandorla  (adapted  from,  or  almost 
modelled  on,  a  relief  by  Orcagna  at  the  back  of 


98  Florence. 

the  great  shrine  in  Or  San  Michele  ;  compare 
the  two  by  means  of  photographs,  allowing,  of 
course,  for  Renaissance  progress).  Our  Lady 
is  represented  as  just  about  to  drop  the  Sacra 
Cintola  or  sacred  girdle  to  St.  Thomas,  who 
kneels,  a  beautiful  youthful  figure,  to  the  left 
below.  This  is  a  subject  which  we  have  seen 
already  in  fresco  at  Santa  Croce,  and  which  will 
meet  us  frequently  elsewhere  in  Florence  (as, 
for  example,  in  the  Orcagna  at  Or  San  Michele), 
from  the  local  importance  of  the  Holy  Girdle 
preserved  at  Prato.  Donatello  is  said  to  have 
completed  this  lovely  work.  The  figures  are 
almost  identical  with  Orcagna's,  but  the  tree 
and  bear  to  the  right  here  replace  two  trees 
at  Or  San  Michele.  The  statuettes  on  the 
pillars  close  by  are  by  Donatello. 

The  second  north  door,  attributed  to  Piero  di 
Giovanni  Tedesco,  and  Niccolo  d'Arezzo,  has 
pillars  resting  on  a  lion  to  the  right,  and  a  lioness 
with  her  cubs  to  the  left.  In  the  tympanum 
are  the  Madonna  and  Child,  again,  with  adoring 
angels.  Stand  on  the  pavement  opposite  to 
take  in  the  effect  of  this  side  of  the  cathedral. 
I  have  only  noted  the  chief  points ;  but  every 
saint    in    niche  or   on    pinnacle  can  be  identi- 


INTERIOR    OF   THE    CATHEDRAL. 


The  New  Cathedral.  99 

fied  by  some  sign,  if  you  take  the  trouble  to 
do  so. 

Now,  enter  the  interior,  which  is  vast  and 
very  bare.  Stand  first  by  the  central  door  to 
observe  the  huge  unimpressive  nave,  supported 
on  either  side  by  only  four  great  arches,  whose 
immense  size  and  sparsity  seem  to  dwarf  the 
entire  building.  (Rows  of  columns  like  Pisa 
are  much  more  effective.)  Then,  before  you 
begin  to  examine  in  any  detail,  walk  straight  up 
the  nave,  to  its  junction  with  the  transepts,  in 
order  to  understand  the  nature  of  the  architec- 
tural arrangement.  The  octagonal  space,  railed 
off  with  a  low  marble  screen  beneath  the  dome, 
is  here,  by  a  very  exceptional  plan,  the  choir. 
To  right  and  left  extend  the  apses  of  the  tran- 
septs, looking  incredibly  small  from  within  when 
compared  with  the  vastness  of  their  exterior. 
Note  that  all  three  ends  in  this  direction 
have  similar  apses.  Then  walk  around  to  the 
back  of  the  choir,  where  what  would  usually 
be  the  chancel  is  known  as  the  Tribuna  di 
San  Zanobi.  Its  High  Altar  contains  the 
head  and  ashes  of  the  sainted  bishop,  which 
are  (or  were)  the  chief  object  of  local  cult  in 
this   church.       From   this  point   of   view,    the 


loo  Florence. 

general  proportions  of  the  interior  can  best 
be  grasped. 

After  thus  gaining  a  general  conception  of 
the  whole,  return  to  the  west  end  of  the  nave. 
The  objects  in  the  interior  worth  notice  are  not 
numerous.  Over  the  central  door  is  the  Corona- 
tion of  the  Virgin  by  Christ,  with  adoring  angels 
in  mosaic,  by  Gaddo  Gaddi.  To  right  and  left, 
over  the  lateral  doors,  are  fresco-monuments  in 
grisaille  of  Florentine  generals,  that  to  the  right 
being  the  monument  of  the  English  partisan 
leader.  Sir  John  Hawkwood  {Giovanni  Acuto) 
who  served  the  Republic  as  a  Captain  of  Free 
Companies  for  many  years ;  that  to  the  left  is 
Niccolo  Manucci  di  Tolentino.  The  rose  win- 
dow contains  an  Assumption  of  the  Madonna. 

Proceed  up  the  right  aisle,  past  the  monu- 
ment of  Filippo  Brunelleschi,  who  designed  the 
dome,  with  his  bust  by  his  pupil,  Buggiano, 
and  the  monument  (not  contemporary)  of  Gi- 
otto, by  Benedetto  da  Majano.  On  the  left  is  a 
holy  water  basin,  with  angel  pouring,  reminis- 
cent of  the  school  of  Pisa.  Observe,  also,  a 
tabernacle,  with  portrait  of  Sant'  Antonino, 
Archbishop  of  Florence,  by  Morandi,  and  a 
monument  of  Marsilio  Ficino,  who  did  much  to 


The  New   Cathedrui.  loi 

introduce  the  study  of  Greek  into  Renaissance 
Florence. 

The  south  transept  contains  on  the  right  and 
the  left  statues  of  St.  Philip  and  St.  James  by 
Giovanni  dell'  Opera  —  part  of  a  group  of  eight, 
ringing  round  the  octagon. 

Over  the  doors,  right  and  left,  in  the  octagon, 
beyond  the  transepts,  are  two  Delia  Robbia 
reliefs,  said  to  be  the  earliest  works  of  Luca. 
That  to  the  right  represents  the  Ascension, 
that  to  the  left  the  Resurrection.  Both  are 
admirable.  Behind  the  High  Altar  is  a  Pieta, 
the  last  unfinished  work  of  Michael  Angelo. 

In  the  Tribune  of  San  Zanobi  (occupying  the 
place  usually  assigned  to  the  choir)  to  right 
and  left  are  statues  of  St.  John  (by  Benedetto 
da  Rovezzano)  and  St.  Peter  (by  the  futile 
Baccio  Bandinelli).  Under  the  High  Altar  of 
the  Tribune,  is  the  **  Area  or  shrine  of  San  Za- 
nobi, containing  his  head  and  ashes.  The  ex- 
quisite relief  in  front  of  the  altar,  by  Lorenzo 
Ghiberti,  is  in  the  same  style  as  his  later  gates. 
It  represents  San  Zanobi  restoring  to  life  the 
son  of  the  Gallic  lady.  The  child  is  seen 
doubly  represented  (as  often  in  early  works  of 
the  sort)  first  as  dead,  and  then  as  restored  to 


I02  Florence. 

life  again.  The  groups  of  bystanders  are  ex- 
quisitely rendered.  When  there  is  sufficient 
light  to  observe  this  relief,  it  should  be  closely 
studied ;  but  it  is  usually  very  dark  and  observed 
with  difficulty.  (See  the  legend  in  Mrs.  Jame- 
son. Many  other  representations  of  this  the 
most  famous  miracle  of  San  Zanobi  are  to  be 
found  in  Florence.)  There  is  a  good  plaster 
cast  of  the  Area  in  the  Opera  del  Duomo  :  see 
it  there,  examine  the  reliefs,  and  then  return  to 
view  the  original. 

From  the  steps  behind  the  altar  the  best  view 
is  obtained  of  the  (feeble)  Last  Supper  by  Gio- 
vanni Balducci. 

In  the  north  transept,  to  the  right  and  left, 
stand  statues  of  St.  Andrew  (by  Ferrucci)  and 
St.  Thomas  (by  Rossi).  The  windows  are  by 
Lorenzo  Ghiberti. 

Right  and  left  of  the  nave,  in  front  of  the 
choir,  are  statues  of  St.  Matthew  (by  Rossi) 
and  St.  James  the  Greater,  by  Jacopo  Sanso- 
vino.  All  eight  of  these  octagon  statues  are 
poor  and  uninteresting. 

In  the  north  aisle,  near  the  first  door,  is 
Dante  explaining  the  "  Divina  Commedia," 
which  he  holds  in  his  hands,  painted  on  wood 


The  New  Cathedral.  103 

by  Domenico  di  Michelino,  in  1465,  by  order  of 
the  Republic.  To  the  right  is  the  town  of  Flor- 
ence, with  its  walls,  its  cathedral  dome,  tower 
of  the  Palazzo  Vecchio,  etc. ;  in  the  back- 
ground, the  spiral  mount  of  Purgatory  ;  on  its 
summit,  the  Tree  of  Life  ;  above,  in  the  air, 
the  Celestial  City  or  Paradise,  represented  by 
various  vague  circles ;  to  the  left,  the  mouth 
of  the  Inferno.  Above,  as  part  of  Heaven,  are 
seen  the  heavenly  bodies.  On  a  bright  day 
(when  this  picture  is  seen  to  advantage  about 
ten  in  the  morning)  students  of  Dante  will  find 
in  it  many  familiar  elements  of  the  great  poem. 
Beyond  the  second  door,  modem  monument  of 
Arnolfo.  Near  it,  statue  of  the  statesman  and 
humanist,  Poggio  Bracciolini,  by  Donatello.  The 
first  pillar  has  a  fine  picture  of  San  Zanobi  be- 
tween San  Crescenzio  and  Sant'  Eugenio,  by 
Orcagna. 

Proceed  one  day  in  this  connection  to  visit 
the  Opera  del  Duomo,  whose  Museum  is  housed 
in  a  courtyard  just  opposite  the  Tribune  of  San 
Zanobi.  Note  the  Roman  remains  in  the  court- 
yard ;  the  quaint  lions  ;  and  the  Lamb  of  St.  ^J^"^ 
John,  with  Florentine  lilies,  over  the  doorway.  ^^  " 


(Lambs,  eagles,    and   lilies  pervade    Florence.) ^j^^V^^^ 


I04  Florence. 

The    lamb    and  flag  is  the   arms  of   the  wool- 
weavers,  an  important  guild. 

The  Museum  contains  a  few  fragments  from 
the  old  fabric  of  the  cathedral,  and  numerous 
pieces  of  many  demolished  works  within  it,  as 
well  as  pictures  from  the  Duomo  or  Baptistery, 
which  (to  say  the  truth)  can  be  studied  here  to 
much  greater  advantage  than  in  the  gloom  of 
their  original  situation.  If  you  want  to  study 
closely,  buy  the  official  catalogue.  Otherwise 
use  the  hand-cards  provided  in  each  room. 
Among  the  chief  objects  within,  too  numerous 
to  mention  in  detail,  are,  on  the  ground  floor, 
Roman  fragments,  and  (40)  a  fine  Madonna  of 
the  school  of  the  Pisani,  probably  by  Giovanni 
Pisano ;  along  the  stairs,  reliefs  of  Saints  and 
Prophets,  by  Baccio  Bandinelli  and  Giovanni 
deir  Opera  ;  and,  on  the  first  floor,  the  beauti- 
ful **  singing-lofts  {Cantovic)  with  groups  of 
Qj^*  singing  and  dancing  children,  by  Donatello  and 
i^^r  %r  Luca  della  Robbia,  once  in  the  cathedral.  Ex- 
V^*^  .^^^  amine  these  in  detail, 

*^C^"^<^  The  one  on  the  wall  nearest  the  door  by 
^W'^i^-v"  which  you  enter  is  by  Luca  della  Robbia,  and  is 
'i?^^"^  ^  his  loveliest  work.  Nowhere  else  has  childhood 
^^^j>^     been  so  sympathetically  and  naturally  depicted. 


The  New  Cathedral.  105 

Luca  always  succeeds  best  with  children  ;  he 
must  have  loved  them.  Observe  the  exquisite 
brackets  supporting  the  loft,  which  compare 
most  favourably  with  Donatello's  more  ornate 
examples  opposite.  All  the  Renaissance  deco- 
ration on  this  loft  is  lovely.  The  four  most 
visible  reliefs  illustrate  the  verse  in  the  Psalm, 
•*  Praise  the  Lord  with  the  sound  of  trumpets, 
with  psalteries,  with  harps,  with  timbrels,"  the 
words  of  the  Psalm  being  inscribed  beneath 
them.  Those  below  illustrate  the  remainder  of 
the  text,  "  With  dancing,  and  with  chords  and 
the  organ,  and  with  cymbals."  The  figures, 
however,  though  intended  to  be  seen  at  this 
height,  are  not  altogether  well  designed  for  the 
purpose.  They  are  best  examined  with  an 
opera-glass,  and  the  two  detached  panels  on  the 
wall  to  the  left  are  more  effective  as  now  hung 
han  those  still  left  in  the  original  framework. 

Donatello's  loft,  on  the  farther  wall,  is  also 
a  beautiful  work ;  yet  here,  if  one  dare  say 
it,  even  Donatello  suffers  by  comparison  with 
Luca.  His  work  is  not,  like  the  other,  all  of 
pure  marble :  it  has  a  sort  of  inlaid  mosaic 
background,  while  pillars,  relieved  with  mosaic, 
unpleasantly    interrupt    its    action,  —  features 


io6  Florence. 

which  to  me,  in  spite  of  the  great  intrinsic 
beauty  of  the  decoration,  somewhat  mar  the 
total  harmony  of  the  structure.  Donatello's 
faces,  on  the  other  hand,  though  less  sweet 
when  closely  examined,  are  better  designed 
to  be  seen  at  this  height  than  Luca's ;  but 
the  separate  figures,  exquisite  as  they  are, 
seem  a  trifle  boisterous,  and  do  not  quite  attain 
the  same  childish  grace  and  ease  of  movement 
as  his  friendly  rival's.  Donatello's  children  are 
winged,  Luca's  are  human.  Sit  long  before 
each,  and  compare  them  attentively  :  there  is 
nothing  more  lovely  in  their  kind  in  Florence. 

The  exquisite  **  High  Altar  in  silver  (97) 
comes  from  the  Baptistery ;  it  represents,  in 
the  centre,  St.  John  the  Baptist,  the  patron 
saint,  and  on  either  side,  as  well  as  at  the  end, 
scenes  from  his  life,  resembling  in  subjects 
those  on  the  gate  of  the   Baptistery. 

This  noble  work  is  of  different  dates :  the 
main  front  is  of  1 366-1402,  while  the  statue 
of  the  Baptist,  more  Renaissance  in  tone,  is 
by  Michelozzo,  145 1.  The  side-reliefs  are  still 
later :  Birth  of  the  Baptist,  by  Antonio  Pollai- 
olo ;  his  Death,  by  Verrocchio,  about  1477-80. 
Compare    the   dainty    little    scene   of   the   boy 


The  New  Cathedral.  107 

Baptist  starting  for  the  desert  with  that  on 
Andrea  Pisano's  door  at  the  Baptistery. 

Notice  also  particularly,  close  by,  100,  10 1, 
the  charming  **  groups  of  Singing  Boys  by 
Luca  della  Robbia,  not  included  in  the  Can- 
toria  (where  they  are  replaced  by  casts),  but 
the  finest  of  the  series. 

Among  the  pictures,  some  of  the  most  typic- 
ally interesting  are :  80,  Santa  Reparata,  hold- 
ing the  red  and  white  flag,  with  Scenes  from  her 
Life  and  Martyrdom  (many  times  attempted  in 
vain),  flanked  by  the  other  two  patron  saints,  St. 
John  the  Baptist  and  San  Zanobi,  much  smaller. 
The  same  local  trio  are  also  excellently  seen 
in  79,  close  by.  I  advise  an  attentive  study 
of  all  these  works,  which  give  you  types  of  the 
Florentine  patrons,  followed  by  a  second  study, 
after  you  have  visited  the  Belle  Arti  when 
their  meaning  and  sequence  will  become  much 
clearer  to  you.  I  do  not  propose  to  treat  them 
here  in  full ;  but  if  you  look  around  for  your- 
self you  will  light  upon  many  such  interesting 
local  traces  as  73,  the  Decollation  of  St.  John 
the  Baptist,  with  a  singular  halo ;  74,  a  mosaic 
of  San  Zanobi  (1505),  with  the  Florentine  lily 
on  his  morse  or  buckle,   and    the   city  in  the 


io8  Florence. 

background ;  'j'j.  Our  Lady,  a  fine  relief,  by 
Agostino  di  Duccio ;  79,  St.  John  with  the  two 
other  patron  saints  (Santa  Reparata  holding 
the  Florentine  lily);  no,  San  Zanobi,  with 
an  Annunciation ;  108,  the  same,  enthroned 
between  two  deacons,  a  good  intarsia  by  Giuli- 
ano  da  Majano ;  107,  the  Baptist  in  the  Desert, 
by  Giovanni  della  Robbia ;  89,  the  Madonna, 
with  St.  Catherine  and  San  Zanobi ;  and  so 
forth.  Compare  all  the  Santa  Reparata  and 
San  Zanobi  figures.  In  109,  the  bishop  is  not 
San  Zanobi,  but  St.  Blaise,  the  patron  of  the 
woollen  trade.  Among  other  interesting  ob- 
jects, not  quite  so  local,  observe  no,  the  Crea- 
tion of  Eve,  a  frequent  subject,  always  so 
rendered,  and  to  be  seen  also  on  the  gates 
of  the  Baptistery ;  and  90,  a  most  singular 
martyrdom  of  St.  Sebastian,  identical  in  motive 
with  the  Pollaiolo  in  the  National  Gallery,  and 
with  a  picture  in  the  Uffizi :  these  represent  a 
variant  of  the  legend. 

Much  of  the  early  sculpture  is  also  most 
beautiful ;  perhaps  the  loveliest  of  all  is  95, 
an  angel  by  Niccolo  d'Arezzo,  a  work  almost 
in  the  style  of  the  school  of  Pisa,  balanced  by 
96,  a  most  unusual-faced  Madonna,  forming  be- 


The  New  Cathedral.  109 

tween  them  an  Annunciation,  and  both  bearing 
distinct  traces  of  classical  influence.  Note  also 
92  and  93,  beautiful  statuettes  of  Christ  and 
Santa  Reparata,  by  Andrea  Pisano.  Under 
Donatello's  singing  loft  are  quaint  Byzantine 
Gospel  stories,  in  mosaic  and  enamel,  giving 
early  forms  of  scenes  ;  and  an  embroidered  Life 
of  the  Baptist,  very  interesting.  In  the  first 
series  note  especially  Christ  in  Hades  (in  the 
second  tier,  on  the  left)  and  Christ  receiving 
the  soul  of  Our  Lady  (in  the  third  tier,  on  the 
right)  for  future  comparison.  I  recommend 
to  all  who  really  wish  to  understand  the  evolu- 
tion of  art  a  close  examination  of  these  Byzan- 
tine compositions. 

The  second  room  contains  the  designs  for 
the  facade  of  the  cathedral  by  De  Fabris  and 
others.  Those  who  desire  to  study  the  sym- 
bolism of  the  fagade  can  do  so  here  to  the 
greatest  advantage.  The  sequence  of  the  vari- 
ous designs  affords  a  perfect  history  of  archi- 
tectural art  in  Tuscany.  Notice  also  the  cast 
of  the  Area  of  San   Zanobi  in  the  centre. 

For  the  Campanile,  designed  by  Giotto,  and 
carried  on  after  his  death   by  Andrea   Pisano 


no  Florence. 

and  Francesco  Talenti,  I  must  refer  you  to 
Baedeker.  It  is  one  of  the  loveliest  architec- 
tural works  ever  planned ;  but  it  requires  rather 
long  inspection  than  description  or  explanation. 
All  that  is  needed  for  its  study  (besides  time) 
is  your  Baedeker  and  an  opera-glass.  The 
sculpture  of  the  lower  story,  on  the  other 
hand,  though  important  for  the  study  of  the 
evolution  of  that  art  in  Tuscany,  you  had  better 
defer  till  after  you  have  visited  the  Bargello  and 
Or  San  Michele.  Its  meaning  and  connection 
will  then  become  clearer  to  you.  You  will 
understand  Giotto's  relation  (as  sculptor)  to 
Andrea  Pisano ;  and  Donatello's  to  Orcagna ; 
besides  being  in  a  better  position  to  trace 
Donatello's  own  personal  development. 


THE    CAMPANILE. 


CHAPTER   VIII. 

THE  SECOND   DOMINICAN   QUARTER  :    SAN   MARCO. 

WHATEVER  else  you  see  or  leave  un- 
seen in  Florence  you  cannot  afford  to 
ignore  the  Monastery  of  San  Marco.  This 
famous  convent,  a  perfect  museum  of  the 
works  of  Fra  Angelico,  the  saintliest  and 
sweetest  of  the  early  fifteenth  century  painters, 
was  originally  built  for  Silvestrine  monks,  but 
was  transferred  by  Cosimo  de'  Medici  to  the 
Dominicans.  In  1436,  the  existing  buildings 
were  erected  by  Michelozzo,  whose  handicraft 
we  have  already  seen  in  the  chapel  of  the 
Medici  at  Santa  Croce.  Shortly  afterward  Fra 
Angelico  of  Fiesole,  a  Dominican  monk  and 
inmate  of  this  monastery,  decorated  the  cells, 
cloisters,  and  chapter-house  with  famous  fres- 
coes, which  represent  the  most  exquisite  work 
of  the  later  Giottesque  period,  as  yet  wholly 
untouched  by  the  Renaissance  spirit.  Fra 
Angelico   is   above  all  things  an   ecstatic  and 


1 1 1  Florence. 

mystical  religious  painter.  His  panel-works, 
it  is  true,  may  be  seen  in  the  north,  but  his 
infinitely  greater  skill  as  a  fresco-painter  can 
only  be  adequately  estimated  at  San  Marco, 
where  he  was  painting  for  his  own  brethren, 
and  for  the  glorification  of  the  Dominican 
Order.  Even  his  exquisite  and  saintly  work 
in  the  Cappella  Niccolina  at  the  Vatican  fails 
to  attain  the  same  spiritual  level  as  his  delicate 
imaginings  on  the  cells  of  his  own  monastery. 
The  influence  of  Popes  and  Cardinals  seems  to 
have  had  a  chilling  effect  upon  his  humble  and 
devout  spirit.  It  spoiled  Raphael  :  it  merely 
damped  the  saintly  Dominican, 

At  the  end  of  the  fifteenth  century,  San 
Marco  was  also  the  home  of  the  great  prior 
and  preacher,  Girolamo  Savonarola,  the  fiery 
reformer  who  was  burnt  at  the  stake  in  1498. 
His  cells  and  many  memorials  of  him  still  exist 
at  San  Marco.  Fra  Bartolommeo,  also  a  monk 
at  this  monastery,  was  deeply  influenced  by 
Savonarola ;  so  also  were  Botticelli  and  many 
other  contemporary  painters.  Their  work  is 
full  of  the  religious  revival  he  inaugurated. 
Read  up  the  whole  of  this  period  in  Villari's 
"  Savonarola,"  at  your  leisure  in  the  evenings. 


The  Second  Dominican   Quarter.    113 

The  convent  was  secularised  after  the  unifi- 
cation of  Italy,  and  is  now  preserved  as  a  public 
museum. 

Remember,  then,  these  things  about  San 
Marco :  It  is  a  Dominican  monastery,  and 
everything  about  it  has  reference  to  the  glory, 
or  the  doctrine  and  discipline  of  the  Domini- 
cans, In  this  respect  it  may  be  regarded  as  a 
later  and  more  spiritual  edition  of  the  Spanish 
Chapel,  But  simple  piety  is  its  note,  rather 
than  dogmatic  theology.  It  was  founded  ae  a 
Dominican  house  by  the  bounty  of  the  Medici, 
whose  patron  saints  (Cosimo,  Damian,  Law- 
rence) reappear  over  and  over  again  in  many 
parts  of  it.  It  was,  in  the  early  fifteenth 
century,  the  home  of  Fra  Angelico,  and  of  the 
holy  Archbishop  St.  Antonine,  the  later  saint 
of  Florence.  It  was,  later  still,  the  home  of 
Savonarola  and  of  Fra  Bartolommeo,  many 
memorials  of  whom  exist  within  it. 

But,  more  than  all  else,  expect  in  San  Marco 
the  glorification  of  St.  Dominic  and  Domini- 
canism. 

Go  past  the  cathedral,  and  take  the  Via 
Cavour  to  the  left,  passing  on  the  left  the 
Riccardi  (Medici)  Palace,  the  original  home  of 


114  Florence. 

the  Medici  family  :  notice  its  proximity  to  the 
Medici  monastery.  You  will  soon  arrive  at 
the  Piazza  of  San  Marco.  In  front  of  you  is 
the  Church,  which  omit  for  the  present.  The 
door  to  the  right  of  it  gives  access  to  the 
monastery. 

The  exterior  is  unattractive.  The  outer 
cloister,  which  we  first  enter,  is  surrounded  by 
a  fine  colonnade  or  loggia  (Michelozzo),  and  en- 
closes a  pretty  little  neglected  garden.  The 
lunettes  are  filled  with  seventeenth  century 
frescoes  (by  Poccetti  and  others),  mainly  re- 
lating to  the  life  of  St.  Antonine,  the  famous 
Dominican  Archbishop  of  Florence,  and  prior 
of  this  monastery.  They  are  sufficiently  ex- 
plained by  the  inscriptions  below  them.  But 
the  chief  objects  of  real  interest  in  this  court 
are  the  few  *  frescoes  by  Fra  Angelico,  all  bear- 
ing reference  to  the  characteristics  of  the 
Dominican  Order.  Facing  you  as  you  enter 
is  the  figure  of  St.  Dominic  embracing  the 
Cross,  representing  the  Devotion  of  the  Do- 
minican Order.  The  founder  saint  may  usually 
be  recognised  by  the  little  red  star  (here  almost 
obliterated,  but  still  just  traceable)  over  his 
forehead.     Immediately  to  the  left  of  it,  over 


The  Second  Dominican  Quarter,    1 1 5 

the  door  of  the  Sacristy,  is  St.  Peter  Martyr, 
with  his  wounded  head  and  pahn  of  martyr- 
dom, placing  his  finger  to  his  Hps,  in  order  to 
enforce  the  Dominican  rule  of  silence.  This 
fresco  thus  represents  the  Sanctity  of  the 
Dominican  Order.  Notice  here  and  elsewhere 
the  Medici  pills  displayed  everywhere.  Mid- 
way, to  the  right,  near  the  entrance  to  the 
Chapter-house  (which  pass  for  the  moment),  is 
St.  Dominic  with  his  red  star  and  open  book, 
bearing  the  scourge  of  rods,  and  representing 
the  Discipline  of  the  Dominican  Order.  On 
the  end  wall,  over  the  door  of  the  Refectory,  is 
a  Pieta.  At  the  opposite  end,  over  the  door 
of  the  foresteria,  or  rooms  reserved  for  the 
entertainment  of  strangers,  **  two  Dominican 
monks  welcome  Christ,  in  the  garb  of  a  pil- 
grim —  "  Inasmuch  as  ye  have  done  it  unto 
the  least  of  these  little  ones  ye  have  done  it 
unto  me."  This  fresco  therefore  represents 
the  Hospitality  of  the  Dominican  Order.  For 
tenderness  and  beauty,  it  is  unsurpassed  by 
any  work  in  this  monastery.  The  next  lunette 
has  one  of  Poccetti's  frescoes,  interesting  as 
showing  Sant'  Antonino  in  a  procession,  with 
a   view   of    the    cathedral   as   it    then    existed, 


1 1 6  Florence. 

giving  the  details  of  Giotto's  unfinished  facade, 
afterward  demolished.  Conspicuous  among  the 
spectators  on  the  right  may  be  noted  Savona- 
rola, in  his  black  and  white  Dominican  robes, 
as  prior  of  this  monastery.  Near  the  entrance 
door  is  St.  Thomas  Aquinas  with  his  book, 
standing  for  the  Learning  of  the  Dominican 
Order  :  also  by  Fra  Angelico. 

Now  return  to  the  Chapter-house,  on  the 
opposite  side,  which  contains  the  so-called 
**  Great  Crucifixion,  —  in  reality  the  Adoration 
of  the  Cross  by  the  Monastic  Orders,  and  more 
particularly  by  the  Dominicans  in  this  Monas- 
tery of  San  Marco  in  the  Town  of  Florence. 
This  is  one  of  Fra  Angelico's  noblest  paintings. 
Those  who  have  only  seen  his  small  panels  in 
the  north  will  hardly  be  prepared  for  the  free- 
dom and  vigour  of  this  splendid  picture.  At 
the  foot  of  the  Cross  stands  a  most  touching 
group,  with  the  essential  figures  of  the  fainting 
Madonna  sustained  by  St.  John,  St.  Mary  Mag- 
dalen, with  her  long  fair  hair,  and  the  other 
Mary.  These  are  simply  part  of  the  conven- 
tional Calvary.  The  group  to  the  right,  how- 
ever, for  whose  sake  the  fresco  was  really 
painted,    represents   the   Founders    of    all   the 


The  Second   Dominican  Quarter.    117 

various  Monastic  Orders.  Nearest  the  foot  of 
the  Cross,  and  in  ardent  adoration,  as  is  right 
in  a  Dominican  house,  kneels  St.  Dominic  him- 
self, with  his  little  red  star,  a  most  powerful 
figure.  Behind  him,  also  kneeling,  is  St. 
Jerome,  the  father  of  all  monks,  and  founder 
of  monasticism,  with  his  cardinal's  hat  on  the 
ground  beside  him.  The  two  standing  figures 
in  the  background  represent  St.  Albert  of  Ver- 
celli,  in  green  and  white,  the  founder  of  the 
order  of  the  Carmelites,  habited  as  bishop  (a 
compliment  to  the  great  Florentine  monastery 
of  the  Carmine) ;  and  St.  Augustine,  with  his 
pen  and  book,  as  the  founder  of  the  Augus- 
tinian  or  Austin  Friars,  and  author  of  the  "  De 
Civitate  Dei."  (It  was  believed  that  the  Car- 
melites were  originally  founded  by  Elijah,  and 
only  "  revived  "  by  St.  Albert :  hence  his  near- 
ness to  the  Cross,  and  perhaps  also  the  attitude 
in  which  he  seems  to  be  calling  St.  Jerome's 
attention,  as  if  the  Old  Dispensation  pointed 
the  way  to  the  New.)  Next,  again,  in  brown 
Franciscan  robes,  comes  St.  Francis  with  the 
Stigmata,  bearing  his  usual  crucifix.  Note  how 
well  the  difference  is  marked  between  the  in- 
tellectual St.  Dominic,  the  ascetic  St.  Jerome, 


ii8  Florence. 

and  the  ecstatic  piety  of  St.  Francis.  Behind 
the  last,  standing,  is  St.  Benedict,  with  the 
scourge,  representing  the  Benedictines;  in  front 
of  whom  kneels  St.  Bernard  with  his  book. 
Next,  standing  and  holding  a  crutch,  is  St. 
Romualdo,  the  founder  of  the  Camaldolese,  in 
his  white  robe.  Close  by  kneels  San  Giovanni 
Gualberto,  founder  of  the  Vallombrosans  ;  these 
two  being  important  monastic  bodies  in  the 
neighbourhood  of  Florence,  toward  whom  such 
politeness  was  only  natural.  Last  of  all, 
next  the  arch,  the  series  is  completed  by  the 
two  most  distinguished  Dominican  saints,  St. 
Thomas  Aquinas,  standing,  and  St.  Peter 
Martyr,  kneeling,  with  his  wounded  head. 
These  two  represent  respectively  the  Learn- 
ing and  the  Sanctity  of  the  Dominican  Order. 
Note  that  each  saint  is  habited  in  the  garb  of 
the  monastic  body  which  he  founded,  while  only 
the  Dominicans  themselves  are  permitted  to 
show  any  minor  members.  Every  face  is  char- 
acteristic of  the  Order  it  represents  :  every  de- 
tail has  its  meaning.  Look  out  for  these  :  they 
will  dawn  upon  you. 

The  group  to  the  left  represents  rather  the 
Town  of  Florence  and  this  Monastery  of  San 


The  Second   Dominican   Quarter.    119 

Marco  situated  within  it.  At  the  foot  of  the 
cross  of  the  Penitent  Thief  (distinguished  by 
a  halo  from  his  reviling  companion)  stands  St. 
John  the  Baptist,  patron  saint  of  the  town,  as 
embodying  Florence.  Beside  him  sits  St.  Mark, 
the  patron  of  the  monastery,  writing,  in  order 
that  you  may  see  he  is  an  Evangelist.  To  the 
extreme  left  again,  we  have  St.  Lawrence  with 
his  gridiron,  in  rich  deacon's  robes,  as  repre- 
senting Lorenzo  de'  Medici  (the  elder —  Cosi- 
mo's  brother)  :  while  behind  him  stand  the  two 
patron  saints  of  the  Medici  family,  Cosimo  and 
Damian.  Of  these,  St.  Cosimo,  standing  for 
Cosimo  de'  Medici,  then  the  ruling  power  in 
Florence,  looks  up  toward  the  cross  in  adora- 
tion ;  while  St.  Damian,  who  is  here  merely 
because  his  presence  is  needed  to  complete 
the  pair,  turns  away  and  hides  his  face,  weep- 
ing, —  a  very  courtly  touch  for  this  saintly 
painter.  The  whole  composition  thus  indicates 
the  Devotion  to  the  Cross  of  the  Monastic 
Bodies,  and  especially  of  the  Dominicans,  more 
particularly  as  embodied  in  this  Dominican 
house  of  San  Marco,  in  this  town  of  Florence, 
founded  and  protected  by  the  ruling  Medici 
family,  and  especially  by  the  brothers  Cosimo 


I  do  Florence. 

and  Lorenzo.  We  can  now  understand  why  the 
Crucifixion  is  so  relatively  unimportant  in  the 
picture,  and  why  all  the  painter's  art  has  rather 
been  lavished  on  the  three  exquisite  groups  in 
the  foreground.  Study  it  all  long.  The  longer 
you  look  at  it,  the  more  will  you  see  in  it. 
(The  ugly  red  of  the  background  was  once 
covered  by  blue,  but  the  pigment  has  peeled  off 
or,  ultramarine  being  expensive,  been  removed 
on  purpose.) 

Do  not  fail  also  to  notice  the  framework  of 
Sibyls,  prophets,  and  patriarchs,  nor  the  genea- 
logical tree  of  Dominican  saints  and  distin- 
guished  personages  who  form  a  string-course 
beneath  the  picture,  with  St.  Dominic  as  their 
centerpiece,  flanked  by  two  Popes  of  his  Order, 
and  various  cardinals,  bishops,  etc.,  whose  names 
are  all  inscribed  beside  them.  Look  at  each 
separately,  observing  that  the  saints  have  each 
a  halo,  while  the  Beati  or  "  Blessed  "  have  only 
rays  around  their  heads.  (Read  up  in  this  con- 
nection the  subject  of  canonisation.) 

After  sitting  about  an  hour  before  this  picture 
(for  a  first  impression)  proceed  into  the  Great 
Refectory,  at  the  end  of  the  same  corridor.  A 
good  later  fresco  here,   by  Antonio    Sogliani, 


The  Second   Dominican   Quarter.    121 

represents  St.  Dominic  and  the  brethren  at 
St.  Sabina  in  Rome  being  fed  by  angels.  This 
appropriate  subject  for  a  refectory  is  called  the 
Providenza ;  its  obvious  meaning  is,  "  The  Do- 
minican Order  receives  its  sustenance  from  the 
Divine  Bounty."  In  the  background  is  a  Cal- 
vary, by  Fra  Bartolommeo,  with  St.  John  and 
Our  Lady,  while  St.  Catherine  of  Siena,  kneel- 
ing with  her  lily  to  the  right,  signifies  the  par- 
ticipation of  the  female  branch  of  the  Dominicans 
in  the  same  divine  protection.  (The  figure  to 
the  left  I  take  for  St.  Antonine.)  Observe 
always  the  meaning  and  relevancy  of  refectory 
frescoes  :  the  most  frequent  subjects  are  the 
Last  Supper  and  the  Feast  of  Levi. 

The  central  door  gives  access  to  the  corridor 
which  leads  to  the  upper  story.  On  the  left 
of  this  corridor  is  the  entrance  to  the  smaller 
Refectory,  which  contains  a  fine  fresco  by 
Ghirlandajo  of  the  Last  Supper.  In  this  work 
Judas  is  represented  after  the  earlier  fashion 
(as  at  Santa  Croce)  seated  opposite  to  Christ 
in  the  foreground.  (Another  Cenacolo  by 
Ghirlandajo,  so  closely  similar  to  this  as  to 
be  almost  a  replica,  exists  in  the  Refectory 
of  the  monastery  of   Ognissanti  in  this  town. 


122  Florence. 

The  two  should  be  visited  and  compared  to- 
gether. Those  who  feel  an  interest  in  this 
frequent  and  appropriate  refectory  subject 
should  also  compare  the  Giotto  at  Santa  Croce 
and  the  Cenacolo  di  Fuligno  in  the  Via  Faenza.) 
Observe  in  this  work  the  characteristic  decora- 
tive background,  the  border  of  the  table-cloth, 
the  decanters  and  dishes,  and  other  dainty 
prettinesses  so  frequent  with  Ghirlandajo,  who 
delights  in  ornament. 


CHAPTER  IX. 

THE  FRA  ANGELICOS  OF  SAN  MARCO. 

MOUNT  the  stairs  to  the  first  floor. 
Opposite  you,  at  the  summit,  is  a  beau- 
tiful **  Annunciation,  all  the  details  of  which 
should  be  closely  studied.  This  is  essentially 
a  monastic  treatment  of  the  subject,  severe  and 
stern  in  architecture  and  furniture,  —  in  which 
respect  it  may  well  be  contrasted  with  such 
earher  treatments  as  Filippo  Lippi's  for  the 
Medici  Palace,  now  in  the  National  Gallery 
at  London.  The  loggia  in  which  the  scene 
takes  place  is  that  of  the  Church  of  the  Annun- 
ziata,  here  in  Florence.  By  a  rare  exception  at 
San  Marco,  this  picture  has  no  distinctive  touch 
of  Dominicanism.  On  the  other  hand,  you  will 
notice  in  almost  all  the  cells  the  figure  of  St. 
Dominic,  often  accompanied  by  the  Medici 
saints,  as  a  constant  factor.  All  the  frescoes 
here  are  by  Fra  Angelico  himself,  unless  other- 
wise mentioned.  Opposite  this  Annunciation 
1 23 


1 24  Florence. 

is  another  version  of  St.  Dominic  embracing 
the  Cross.  His  red  star  will  always  distinguish 
him. 

Continue  down  the  corridor  to  the  right,  oppo- 
site this  last  picture,  leading  through  the  Dor- 
mitory of  the  monastery,  and  visit  the  cells  from 
right  to  left  alternately.  Each  has  its  own  fresco. 
I  give  them  as  they  come,  irrespectively  of  the 
official  numbers. 

The  first  is  "  Noli  me  tangere ; "  Christ  as 
the  gardener,  and  the  Magdalen. 

The  second  is  the  Crucifixion,  with  Mater 
Dolorosa,  and  an  adoring  Dominican. 

The  third  represents  the  Deposition  in  the 
Tomb,  with  St.  John  and  the  mourning  women, 
partly  suggested  by  the  Giotto  at  Padua ;  be- 
hind, St.  Dominic  with  his  lily,  in  adoring 
wonder. 

The  fourth  is  another  Crucifixion  with  a 
Dominican  worshipper  (St.  Peter  Martyr). 

The  fifth,  another  *  Annunciation,  with  St. 
Peter  Martyr  adoring.  The  flame  on  the  arch- 
angel's head  is  conventional.  Notice  the  ex- 
quisite adoring  figure  of  the  Madonna,  who  here 
kneels  to  the  angel,  while  in  later  treatments 
the  angel  kneels  to  her.     This  is  again  a  very 


FRA    ANGELICO.  —  ANNUNCIATION. 


The  Fra  Angelicos  of  San   Marco.     125 

monastic  picture ;  the  architecture  is  suggested 
by  this  very  monastery. 

The  sixth  represents  the  Bearing  of  the 
Cross,  with  an  adoring  Dominican  (St.  Thomas 
Aquinas  i*). 

The  seventh  is  a  Crucifixion,  with  Madonna 
and  St,  John,  St.  Dominic,  and  St.  Jerome. 
Observe  the  cardinal's  hat  in  the  corner,  which 
is  St.  Jerome's  emblem.  As  before,  the  fig- 
ures represent  Monasticism  as  a  whole  and  the 
Dominicans  in  particular. 

In  the  eighth  is  Christ  bound  to  the  pillar  to 
be  scourged,  accompanied  by  a  Dominican,  sim- 
ilarly stripped  for  penance  and  flagellation.  A 
mystical  subject. 

The  ninth  represents  the  Nativity,  with  the 
ox  and  ass  and  other  habitual  features.  St. 
Peter  Martyr  with  his  wounded  head  adoring. 
The  figure  to  the  left  is  St.  Catherine  of 
Alexandria. 

The  tenth  is  a  Pieta ;  Peter  and  the  maid, 
Kiss  of  Judas,  Scourging  (with  only  hands  visi- 
ble), Judas  receiving  the  bribe,  and  other  sym- 
bolical scenes  in  background.  In  the  foreground 
is  St.  Thomas  Aquinas  with  his  book  in  adoration. 

On  the  wall,  between  this  and  the  next  cell, 


126  Florence. 

are  a  Madonna  and  Child  with  Dominican  and 
Medici  saints,  —  a  symbolical  composition,  sim- 
ilar to  that  in  the  Chapter-house.  On  the  ex- 
treme left  is  St.  Dominic  ;  near  him  are  St. 
Cosimo  and  St.  Damian  in  their  red  doctors' 
robes,  representing  the  family  of  the  founder ; 
beside  them,  St.  Mark  as  patron  of  this  con- 
vent :  on  the  opposite  side,  St.  John  the  Evan- 
gelist, St.  Thomas  Aquinas,  St.  Lawrence  with 
his  gridiron,  representing  (the  elder)  Lorenzo 
de'  Medici,  and  St.  Peter  Martyr  (for  Piero  de' 
Medici).  All  the  martyrs  bear  their  palms 
of  martyrdom  ;  —  once  more  the  Learning  and 
Sanctity  of  the  Dominican  Order,  and  this  con- 
vent of  St  Mark,  with  its  Medici  founder,  and 
the  saints  of  his  son  and  brother.  Note,  by  the 
way,  the  draped  child,  the  red  cross  behind  the 
head  of  Christ,  and  the  star  which  almost  always 
appears  on  the  Madonna's  shoulder.  The  more 
you  observe  these  symbolical  points,  the  more 
will  you  understand  Florentine  pictures,  I 
recommend  the  development  and  variation  of 
the  halo  of  Christ  as  a  subject  for  study. 

The  eleventh  fresco  represents  **  the  Trans- 
figuration, Christ  in  a  mandorla,  with  Moses 
and  Elias ;    His  extended  hands  prefigure  the 


The  Fra  Angelicos  of  San  Marco.     127 

crucifixion.  Below  are  the  three  saints  whom 
He  took  up  into  the  mountain.  On  the  left  is 
the  Madonna  ;  on  the  right,  St.  Dominic  observ- 
ing the  mystery. 

The  twelfth  is  a  Crucifixion ;  Madonna, 
Magdalen,  an  adoring  St.   Dominic, 

In  the  thirteenth  are  shown  the  Scourging 
and  Buffeting ;  the  Crown  of  Thorns,  Only 
the  hands  and  heads  are  seen  :  Fra  Angelico 
could  not  bring  himself  to  paint  in  full  this 
painful  scene.  Below  is  St.  Dominic  reverently 
looking  away  from  it. 

The  fourteenth  represents  the  Baptism  of 
Christ ;  the  positions,  and  the  angels  on  the 
bank  are  conventional.  Observe  them  else- 
where.     To  the  right  are  two  saints  adoring. 

The  subject  of  the  fifteenth  is  the  Resurrec- 
tion, with  the  Maries  at  the  sepulchre.  Their 
attitudes  are  admirable.  On  the  left  is  St. 
Dominic  adoring. 

The  sixteenth  is  a  Crucifixion,  a  symbolical 
treatment  with  angels  and  the  usual  St. 
Dominic. 

The  seventeenth  represents  the  **  Coronation 
of  the  Virgin,  a  most  lovely  subject,  in  celestial 
colouring.     Below  are  adoring  saints,  conspicu- 


128  Florence. 

ous  among  whom  are  not  only  St.  Dominic, 
St.  Thomas  Aquinas,  St,  Peter  Martyr,  and  St. 
Mark,  but  also,  by  a  rare  concession,  St.  Francis 
with  the  Stigmata.  This  is  a  compliment  to 
our  Franciscan  brethren.  Perhaps  the  cell  was 
lent  to  Franciscans. 

The  eighteenth  is  a  Crucifixion,  in  this  case 
with  no  Dominican  symbolism. 

The  nineteenth  represents  the  *  Presentation 
in  the  Temple,  with  a  charming  girlish  Madonna. 
The  St.  Joseph  behind  is  a  marked  type  with 
Fra  Angelico.  Observe  him  elsewhere.  On 
either  side,  St.  Peter  Martyr  and  St.  Catherine 
of  Siena,  — the  male  and  female  representatives 
of  Dominican  piety. 

The  subjects  of  the  twentieth  are  the  Ma- 
donna and  Child,  with  St.  Thomas  Aquinas, 
and  (I  think)  St.  Zenobius,  Bishop  of  Florence. 
He  often  appears  in  works  in  this  city. 

The  cells  to  the  right,  along  the  next  corri- 
dor, all  contain  repetitions  of  a  single  subject, 
—  the  Crucifixion,  with  St.  Dominic  in  adora- 
tion, but  in  varied  attitudes,  all  of  them  signifi- 
cant. They  need  not  be  particularised.  These 
frescoes  are  said  to  have  been  executed  by  Fra 
Angelico's   brother,   Fra    Benedetto,   who   also 


FRA    ANGELICO.  —  CORONATION    OF    THE    VIRGIN. 


The  Fra  Angelicos  of  San  Marco.     129 

assisted  him  in  some  of  the  preceding.  At  any 
rate  they  are  the  work  of  a  pupil  and  imitator. 
The  cells  were  those  inhabited  by  the  novices. 

The  last  three  cells  in  thtS  corridor  were 
those  inhabited  by  Savonarola,  as  the  little 
Latin  inscription  testifies.  The  first  contains 
his  bust,  with  a  modern  relief  of  his  preaching 
at  Florence  (by  Dupre).  The  walls  have  fres- 
coes by  Fra  Bartolommeo,  contrasting  ill  with 
his  mediaeval  predecessor  :  Christ  as  a  pilgrim 
received  by  two  Dominicans,  etc.  The  second 
contains  a  portrait  of  the  great  prior  by  Fra 
Bartolommeo,  and  Savonarola  relics.  The  third 
has  a  curious  picture  of  the  scene  of  his  burn- 
ing in  the  Piazza  della  Signoria,  —  interesting 
also  as  a  view  of  the  Florence  of  the  period. 
(Read  up  the  period  in  Villari :  see  also  George 
Eliot's  "  Romola  "). 

Now,  return  to  the  head  of  the  staircase  by 
which  you  entered,  and  proceed  to  examine 
the  cells  in  the  corridor  beyond  the  great 
Annunciation. 

The  first  to  the  left  contains  a  quaint  genea- 
logical tree  of  the  Dominican  Order,  and  several 
relics,  sufficiently  described  on  their  frames. 
These  are  the  rooms  of  St.  Antoninus,  and  con- 


130  Florence. 

tain  the  bier  on  which  his  body  used  to  be 
carried  in  procession.  It  now  rests  in  the 
adjoining  church.  The  fresco  represents  Christ 
delivering  the  souls  of  the  pious  dead  from 
Hades.  Notice  the  personal  Hades  crushed 
under  the  doors  of  Hell,  as  described  in  the 
Apocryphal  Gospel  of  Nicodemus.  The  white 
robe,  and  the  banner  with  the  red  cross,  always 
mark  Christ  after  the  Crucifixion  till  the  Ascen- 
sion. Observe  the  lurking  devils  in  the  cran- 
nies. Conspicuous  among  the  dead  is  the  figure 
of  St.  John  the  Baptist,  patron  of  Florence, 
who,  having  predeceased  the  Saviour,  was  then 
in  Hades.     Study  this  picture  closely. 

In  the  second  cell  to  the  left  are  represented 
Christ  and  the  Twelve ;  the  Sermon  on  the 
Mount.  In  the  small  cell  adjoining  are  two 
scenes  of  the  Temptation,  with  ministering 
angels.  The  fourth  cell  contains  another 
Crucifixion,  with  fainting  Madonna  and  an 
adoring  Dominican. 

Beyond  this  cell,  the  door  to  the  right  gives 
access  to  the  Library,  whose  architecture  has 
coloured  several  of  Fra  Angelico's  pictures  in 
the  Dormitory.  The  cases  contain  beautiful 
illuminated  manuscripts,  chiefly  by  Fra   Bene- 


The  Fra  Angelicos  of  San  Marco.     131 

detto,  all  of  which  should  be  inspected,  though 
description  is  impossible. 

In  the  next  cell  to  the  right  is  a  Crucifixion, 
with  St.  Longinus  piercing  the  side  of  Christ, 
and  an  adoring  Dominican.  St.  Martha,  ex- 
ceptionally represented  in  this  picture,  has 
her  name  inscribed  accordingly.  She  occurs 
elsewhere  here :  I  do  not  know  the  reason, 
but  one  must  be  forthcoming.  Could  it  have 
been  the  name  of  the  painter's  mother  or 
sister  .-' 

To  the  left  is  the  Kiss  of  Judas,  unusually 
spirited,  with  Roman  soldiers,  and  Peter  cutting 
off  the  ear  of  Malchus  (a  constant  concomitant). 
This  picture  has  perhaps  more  action  than  any 
other  by  Fra  Angelico.  Here,  also,  in  a  frame, 
is  the  *  Madonna  della  Stella,  one  of  Fra  An- 
gelico's  most  famous  smaller  works. 

In  the  adjacent  cell  is  an  exquisite  little 
*  tabernacle  of  the  Coronation  of  the  Virgin, 
closely  resembling  the  well-known  picture  in 
the  Louvre.  The  saints  below  are  worth  the 
trouble  of  identifying.  Here  also  is  a  fragment 
of  a  fresco  of  the  Entry  into  Jerusalem. 

Next  is  the  Agony  in  the  Garden,  with 
Mary  and  Martha,  and  an  exquisite  little  tab- 


132  Florence. 

ernacle  of  the  Annunciation  and  the  Adoration 
of  the  Magi.  Contrast  Fra  Angelico's  style 
in  fresco  and  panel.  Below  is  a  row  of  named 
saints :  identify  their  types. 

Then  comes  a  fresco  of  the  Last  Supper,  an 
unusual  and  symbolical  treatment  with  wafers 
and  patina :  say  rather,  a  mystic  Institution  of 
the  Eucharist.  Four  Apostles  have  risen  from 
their  seats  and  kneel :  on  the  other  side,  a 
kneeling  saint  in  white  —  not,  I  think.  Our 
Lady.  Notice  the  quaint  device  of  the  win- 
dows, in  order  to  suggest  the  upper  chamber. 

In  the  last  cells  on  the  left  are  shown  Christ 
being  nailed  to  the  Cross  (with  Nicodemus, 
Joseph  of  Aramathaea,  and  Longinus),  and  a 
Crucifixion,  with  St.  Dominic  spreading  his 
arms  in  adoration,  and  St.  Thomas  with  his 
book,  philosophically  contemplating  the  mys- 
tery of  redemption.  Observe  such  frequent 
touches  of  characterisation.  Note,  too,  the 
halo  on  the  penitent  thief,  whose  anatomy  is 
unusually  good  for  Fra  Angelico. 

On  the  end  wall  is  a  tapestry  with  the  arms 
of  the  Medici. 

The  cells  to  the  right  are  those  which  were 
occupied  by  Cosimo   Pater  Patriae,  when  he  re- 


The  Fra  Angelicos  of  San   Marco.     133 

tired  to  the  convent,  in  retreat,  for  prayer  and 
meditation.  The  first  therefore  contains  a  Cru- 
cifixion, with  St,  Cosimo,  St.  John,  and  St. 
Peter  Martyr  (the  last  two  as  patrons  of  Gio- 
vanni and  Piero  de'  Medici).  Cosimo  could 
thus  pay  his  devotions  to  the  Saviour  before 
his  own  patron  and  those  of  his  sons.  The 
upper  cell,  where  Cosimo  slept,  contains  a 
Pieta,  above  which  is  the  Adoration  of  the 
Magi,  doubtless  as  representing  worldly  au- 
thority submitting  to  the  Church,  and  there- 
fore most  appropriate  for  the  retreat  of  the 
powerful  founder.  Notice  the  characteristic  fig- 
ure of  Joseph.  The  attitudes  of  the  Three  Kings 
also  occur  exactly  alike  in  many  other  pictures. 
The  train  of  attendants  with  horses  and  camels 
to  the  right  (most  fearsome  monsters)  are  also 
characteristic.  The  riders  are  supposed  to  be 
observing  the  Star  in  the  East.  Notice  the 
attempt  to  introduce  types  of  Orientals,  some 
of  whom  have  truly  Asiatic  features.  This 
cell  also  contains  a  good  terra-cotta  bust  of 
St.  Antoninus,  and  a  portrait  of  Cosimo  (in  the 
dress  of  his  patron  saint)  by  Pontormo,  of  the 
sixteenth  century  (not  of  course  contemporary, 
but  reconstructed  from  earlier  materials).     St. 


134  Florence. 

Antoninus  used  here  to  converse  with  Cosimo, 
who  also  received  Fra  Angelico. 

After  visiting  the  Monastery  of  San  Marco,  I 
advise  you  to  pay  a  brief  visit  to  the  Church  of 
San  Marco  by  its  side,  —  originally,  of  course, 
the  chapel  of  the  monastery.  The  facade  is  of 
the  eighteenth  century,  and  ugly,  but  contains 
interesting  symbolism  of  St.  Mark,  St.  Dom- 
inic, St.  Antonine,  etc.,  which  you  will  now 
be  in  a  position  to  understand  for  yourself. 
In  the  porch,  on  the  holy  water  stoup,  and 
elsewhere,  the  balls  of  the   Medici. 

The  interior,  though  ancient,  was  so  painfully 
altered  in  the  sixteenth  century  as  to  preserve 
little  or  nothing  of  its  original  architecture.  It 
contains,  however,  a  few  old  works,  the  most 
interesting  of  which  are  a  Christ  on  a  gold 
ground  over  the  central  door,  said  to  be  by 
Giotto.  (Compare  with  several  old  crucifixes 
in  the  Uffizi.)  The  Madonna  over  the  second 
altar  is  by  Fra  Bartolommeo,  a  monk  of  the 
monastery.  Over  the  third  altar  (St.  Dom- 
inic's) is  an  early  Christian  mosaic  of  the 
Madonna,  from  Rome,  so  greatly  modernised, 
with  new  saints  added,  as  to  be  of  little  or  no 
value.     But  the  most  interesting  object  in  the 


The  Fra  Angelicos  of  San   Marco.     135 

church  is  the  Chapel  of  St.  Antonine,  prior  of 
the  monastery,  and  Archbishop  of  Florence, 
whose  cells  you  have  already  seen  in  the  adjoin- 
ing dormitory.  It  still  contains  the  actual  body 
of  the  archbishop.  The  architecture  is  by 
Giovanni  da  Bologna,  who  also  executed  the 
statue  of  the  saint.  The  other  statues  (poor) 
are  by  Francavilla.  The  frescoes  by  the  en- 
trance represent  the  Burial  and  Translation  of 
St.  Antonine.  This  chapel,  ugly  enough  in 
itself,  helps  one  to  understand  the  late  frescoes 
in  the  monastery.  The  church  also  contains 
the  tombs  of  the  two  distinguished  humanists 
and  friends  of  the  Medici,  Pico  della  Mirandola 
and  Poliziano.  You  will  not  fail  to  observe, 
throughout,  the  Dominican  character  of  the 
church,  nor  its  close  relation  to  the  adjoining 
monastery  and  its   inmates. 

Visit  some  other  day  the  Riccardi,  formerly 
the  Medici  Palace,  close  by,  the  original  home 
of  the  great  family,  before  it  migrated  to  the        «^  "^K^y^ 
Pitti.     The  chapel  is  very  dark  ;  therefore,  read  ,v*  V*^>»r 


all   that   follows   before  starting.      This   palace  ^J^'"**"^  --^^^ 


was  built  in   1430  for  Cosimo   Pater  Patriae,  by    ''^' ^>*^'°C^ 


Michelozzo,  the  Medici  architect,  who  also  built 
the  Monastery  of   San  Marco  and  the  Medici 


136  Florence. 

Chapel  at  Santa  Croce,  as  well  as  Piero  de' 
Medici's  pretty  little  baldacchino  or  shrine  at 
San  Miniato.  Compare  all  these,  in  order  to 
understand  Michelozzo's  place  in  the  evolution 
of  Renaissance  architecture.  Note,  too,  how 
the  politic  Medici  favoured  both  the  important 
monastic  bodies.  This  was  the  palace  of 
Lorenzo  de'  Medici,  and  it  continued  to  be 
the  family  home  till  the  Medici  migrated  about 
1 549  to  the  Pitti.  It  was  sold  ten  years  later 
to  the  Riccardi  family,  whose  name  it  still 
bears ;  and  it  is  now  the  Prefecture. 

The  exterior  of  the  palace  is  very  handsome : 
the  rustica  work  here  for  the  first  time  is  made 
to  taper  upward.  Notice  the  admirable  cornice. 
The  Court  is  imposing :  it  contains  a  curious 
jumble  of  tombs,  busts,  sarcophagi,  antique  in- 
scriptions, and  mediaeval  fragments.  The  me- 
dallions above  the  arcades  are  by  Donatello, 
after  antique  gems.  The  total  effect  is  too 
mixed  to  be  pleasing. 

But  the  great  reason  for  visiting  the  Medici 
Palace  is  the  Chapel.  This  dark  little  building 
is  entirely  covered  with  one  gorgeous  **  fresco 
by  Benozzo  Gozzoli,  painted  by  means  of  arti- 
ficial light,  about  1460,  —  his  greatest  work, — 


The  Fra  Angelicos  of  San   Marco.     137 

and  one  of  the  loveliest  things  to  be  seen  in  "^^  ^^ 
Florence.  It  represents  the  journey  of  the 
Three  Kings  to  Bethlehem,  represented  as  a 
stately  mediaeval  processional  pageant  through 
a  delicious  and  varied  landscape  background. 
Benozzo  was  a  pupil  of  Fra  Angelico,  and  he 
took  much  from  his  master,  as  well  as  some 
hints  from  Gentile  da  Fabriano's  Adoration  of 
the  Magi,  now  in  the  Belle  Arti  (but  then 
at  Santa  Trinita),  which  you  will  see  hereafter ; 
the  two  should  be  carefully  compared  together. 
Therefore,  on  this  account  also,  you  should 
bear  in  mind  the  double  connection  between 
San  Marco  and  the  Medici  Palace.  Note,  how- 
ever, that  Benozzo  has  a  sense  of  landscape 
and  pretty  fantastic  adjuncts  denied  to  Fra 
Angelico's  ascetic  art,  and  only  shared  in  part 
by  Gentile  da  Fabriano.  At  San  Marco  all 
is  monastic  sternness ;  at  the  Medici  Chapel, 
all  is  regal  and  joyous,  all  glitters  with  gold 
and  glows  with  colour. 

On  the  left  wall,  the  Eldest  King,  mounted 
on  a  white  mule  (cruelly  mutilated  to  make  a 
door),  rides  toward  Bethlehem.  The  venerable 
face  and  figure  are  those  of  the  Patriarch 
Joseph    of    Constantinople,    who    was    then    in 


ijS  Florence. 

Florence  attending  the  abortive  council  already 
mentioned  for  the  reunion  of  the  Eastern  and 
Western  Churches.  A  troop  of  camels  bearing 
his  present  zigzags  along  the  mountain  route 
in  front  of  him.  Notice  also  the  hunting 
leopard,  already  introduced  into  a  similar  scene 
by  Gentile  da  Fabriano,  whose  influence  on 
Benozzo  is  everywhere  apparent. 

On  the  end  wall  comes  the  Second  or 
Middle-aged  King,  in  a  rich  green  robe,  daintily 
flowered  with  gold.  To  mark  his  Eastern 
origin,  he  wears  a  turban,  surmounted  by  a 
crown.  The  face  and  figure  are  those  of  John 
Palaeologus,  Emperor  of  Constantinople,  then 
in  Florence  for  the  same  purpose  as  the  Pa- 
triarch Joseph.  His  suite  accompany  him. 
Observe  to  the  far  left  three  charming  youths, 
wearing  caps  with  the  Medici  feathers. 

On  the  right  wall,  the  Young  King,  on  a 
white  horse  like  the  others,  and  wearing 
a  crown  which  recalls  Gentile,  moves  on  with 
stately  march  in  the  same  direction.  This 
king  is  a  portrait  of  Lorenzo  the  Magnificent. 
In  front  of  him,  two  pages  bear  his  sword 
and  his  gift.  Behind  him,  various  members 
of  the  Medici  family  follow  as  part  of  the  pro- 


iENOZZO  GOZZOLI.  —  PORTRAIT  OF  LORENZO  THE  MAGxMFI- 
CENT  (DETAIL  OF  THE  JOURNEY  OF  THE  THREE  KINGS 
TO    BETHLEHEM). 


The  Fra  Angelicos  of  San   Marco.     139 

cession  :  among  them  you  may  notice  Cosimo 
Pater  Patriae,  with  a  page  leading  his  horse. 
Farther  back,  some  other  less  important  per- 
sonages of  the  escort,  among  them  Benozzo 
himself,  with  his  name  very  frankly  inscribed 
on  his  head-gear. 

On  the  choir  wall,  groups  of  most  exquisite 
and  most  sympathetic  angels  stand  or .  kneel 
in  adoration.  These  charming  figures  origi- 
nally uttered  their  sonorous  glories  to  the 
Madonna  and  Child  in  the  central  altar-piece, 
which  has  been  removed  to  make  way  for 
the  existing  window.  This  altar-piece  was  by 
Benozzo  himself,  and  represented  the  Adora- 
tion of  the  Child  ;  it  is  now  in  the  Old  Pina- 
kothek  at  Munich.  I  do  not  know  at  what 
time  the  original  Adoration  was  removed,  but 
in  1837  Filippo  Lippi's  Nativity,  now  in  the 
Belle  Arti,  filled  the  vacancy. 

I  have  very  briefly  described  the  main  idea 
of  these  ineffably  beautiful  frescoes.  You  must 
note  for  yourself  the  rich  caparisons  of  the 
horses,  the  shepherds  and  their  flocks,  the 
pomp  of  the  escort,  the  charming  episodes  in 
the  background,  the  delicious  and  fairy-like 
mediaeval  landscape,  the  castles  and  rocks,  the 


140  Florence. 

trees  and  bright  birds,  the  hawks  and  rabbits, 
the  endless  detail  of  the  fanciful  accessories. 
Pomegranate  and  vine,  stone-fir  and  cypress, 
farmyard  and  trellis,  all  is  dainty  and  orderly. 
In  these  works  for  the  first  time  the  joy  in 
the  beauty  of  external  nature,  just  foreshadowed 
in  Gentile  da  Fabriano,  makes  itself  distinctly 
and  consciously  felt.  If  the  nafve  charm  of 
Benozzo's  rich  and  varied  work  attracts  you, 
you  can  follow  up  their  artist's  later  handicraft 
in  the  Campo  Santo  at  Pisa,  and  in  the  lost 
little  mountain  town  of  San  Gimignano,  near 
Siena. 


CHAPTER    X. 

THE    BELLE    ARTI. 


BY  far  the  most  important  gallery  in  Flor-  ^v»^»>  '*^\s^ 
ence,  for  the  study  of    Florentine  art  at  v^'-''''*^  .^y^-^ ' 
least,  is  the  Accademia  delle  Belle  Arti  in  the  ^^^^-^'-^"^'^^ 
Via  Ricasoli.     This  gallery  contains  a  splendid  ,^,j> --^^^"-^ 
collection   of   the    works    of    the   Tuscan    and  -^^^^  >:..  ^^ 
Umbrian   Schools,  from    the  earliest  period  to  j^.^^^'^^^ 
the    High    Renaissance,    mostly    brought    from  ^->5;^^^ ' 
suppressed  churches  and  convents.     It  is  desti-     \^j^.'^.  ^'. 
tute,  indeed,  of  any  works  by  Raphael,  Michael    ^'j>^  '^'^ 


Angelo,  Leonardo,  Titian,  and  the  other  chief 
painters  of  the  early  sixteenth  century.  But 
it  possesses  a  magnificent  series  of  the  great 
artists  of  the  fourteenth  and  fifteenth  centuries, 
when  art  was  feeling  its  way,  whose  works  are 
therefore  so  much  more  interesting  to  the 
student  of  the  history  and  evolution  of  paint- 
ing. It  begins  with  a  collection  of  Giottesque 
altar-pieces,  and  then  leads  gradually  on,  through 
141 


142  Florence. 

the  slowly  improving  art  of  the  early  fifteenth 
c^  century,  to  the  great  group  of  glorious  Floren- 
tines, Filippo  Lippi,  Filippino  Lippi,  Botticelli, 
Verrocchio,  who  immediately  preceded  the  early 
'.jlV*'*^^'^  sixteenth  century  movement  in  art  which  culmi- 
,j,y^'^^'  nated  in  the  Decadence.  It  is  also  the  first 
^*^'^'^  gallery  which  you  should  visit,  because  its  his- 

torical range  is  on  the  whole  less  varied,  its 
continuity  greater,  its  stages  of  development 
more  marked,  than  in  other  instances.  Being 
confined  to  the  early  painters  of  Florence  and 
of  the  upland  country  behind  it,  it  enables  you 
more  readily  to  grasp  the  evolution  of  art  m  a 
single  province,  up  to  the  date  of  Raphael,  than 
you  can  do  elsewhere.  I  advise  you,  therefore, 
to  spend  many  days  in  this  gallery  before  pro- 
ceeding to  the  Uffizi  and  the  Pitti.  Or,  if  this 
sounds  too  hard  a  saying,  then  look  through  the 
two  last-named  casually  first,  but  begin  your 
definite  study  in  detail  with  the  Belle  Arti. 

Go  to  the  cathedral  square,  and  then  take 
the  Via  Ricasoli  to  your  left.  A  little  before 
you  arrive  at  the  Piazza  of  San  Marco,  you  will 
see  on  your  right  a  door  which  gives  access  to 
the  gallery  —  ofiicially  known  as  the  Reale  Gal- 
leria  Antica  e  Modema. 


The  Belle  Arti.  143 

The  first  room  which  we  enter  —  the  outer 
corridor  —  contains  Early  Tuscan  panels,  chiefly 
altar-pieces  from  suppressed  churches,  and  of 
comparatively  small  artistic  value.  Neverthe- 
less, as  leading  up  to  later  works,  and  as  exhib- 
iting the  characteristic  assemblages  of  Florentine 
or  Tuscan  saints,  they  deserve  the  closest  atten- 
tion. I  will  not  particularise  as  to  many  of 
them,  but  will  call  attention  as  we  pass  to  a  few 
interesting  details.  Unless  you  study  these  early 
and  to  some  people  unattractive  works  you  can 
not  properly  comprehend  the  later  ones.  I  will 
lay  stress  only  on  the  saints  or  motives  which 
oftenest  recur,  so  as  to  lead  you  gradually  on  to 
a  knowledge  of  the  subject. 

On  the  left  wall  is  51,  an  Ascension,  with 
St.  Lawrence,  as  a  Medici  patron  ;  St.  John,  as 
patron  of  Florence  ;  St.  Benedict ;  and  St.  Mark. 
Above,  in  two  separate  lozenges,  is  the  Annun- 
ciation, from  a  monaster)^  in  Florence. 

In  49,  a  Crucifixion,  note  the  St.  John  and 
Magdalen,  and  the  angel  catching  the  sacred 
blood  —  a  frequent  feature.  Look  out  for  it 
elsewhere.  The  blood  was  preserved  in  the 
Holy  Grail.  Some  of  it  is  at  Bruges  and  in 
reliquaries  in  other  churches. 


1 44  Florence. 

Number  47  is  by  Neri  di  Bicci,  that  late 
manufacturer  of  Giottesque  pictures  to  order ; 
the  subject  St.  Francis  with  the  Stigmata,  em- 
bracing the  Cross ;  to  the  extreme  right,  the 
ascetic  portrait  of  St.  Bernardino  of  Siena. 
The  other  saints  are  Jerome,  the  Baptist, 
Anthony  of  Padua,  and  the  Magdalen.  A 
Franciscan  picture. 

Number  46  is  a  Madonna,  attributed  most 
doubtfully  to  Cimabue.  It  looks  much  more 
like  a  work  of  the  school  of  Giotto.  Notice  the 
goldfinch. 

Among  the  group  of  Saints  close  by,  notice 
again,  43,  St.  Lawrence,  in  his  usual  rich  dea- 
con's robes.  This  is  from  the  monastery  of  San 
Marco. 

In  35  we  get  once  more  a  Holy  Trinity 
(observe  its  composition)  with  St.  Cosimo  and 
St.  Damian,  St.  Francis  kneeling,  and  other 
saints.  Do  not  overlook  the  medical  instru- 
ments of  the  holy  doctors,  nor  the  little  Annun- 
ciation in  the  predella.  The  remaining  saints 
are  named  beneath.  Observe  always  such 
named  saints  :  they  will  help  you  to  identify 
others  by  the  emblems. 

Number  32,  a  Neri  di  Bicci,  should  be  ob- 


CIMABUE.  —  MADONNA. 


The  Belle  Arti.  145 

served  for  its  St.  Apollonia  with  the  pincers 
(often  carrying  a  tooth  elsewhere)  and  St. 
Catherine  with  the  wheel.  Note  its  spikes, 
which  you  will  find  tolerably  constant.  This 
picture  came  from  the  convent  of  St.  Apol- 
lonia ;  hence  the  position  of  the  saint  and  her 
sister  martyr.  St.  Louis  of  Toulouse  should 
also  be  noted. 

Number  28,  by  the  same  artist,  is  a  most 
characteristic  Annunciation,  with  loggia,  the 
orthodox  division  between  the  angel  and  Ma- 
donna, the  Eternal  Father  discharging  the  dov^e, 
the  bedchamber  in  the  background,  and  all  the 
typical  Giottesque  peculiarities.  I  specially  rec- 
ommend a  study  of  Annunciations.  This  gives 
the  commonest  type  ;  notice  it  carefully. 

In  27  you  get  the  old  patron  saint  of  Flor- 
ence, Santa  Reparata,  whom  you  saw  so  abun- 
dantly at  the  Opera  del  Duomo. 

In  26,  note  St.  Barbara  with  her  tower,  as 
well  as  the  characteristic  Florentine  figure  of 
St.  John  the  Baptist.  The  bald  head  of  St.  Paul 
(with  his  sword,  on  the  left)  has  the  typical 
features  always  given  to  the  Prince  of  the 
Apostles.  The  other  saints  are  Benedict  and 
John  the  Evangelist. 


146  Florence. 

Number  22  is  excellent  for  comparison  of  the 
central  subject  with  the  last  ;  while  the  St. 
Michael  to  the  left,  weighing  naked  souls,  and 
tramphng  on  a  highly  Giottesque  dragon,  strikes 
a  common  key-note.  To  the  right,  St.  Stephen, 
with  the  stones  on  his  head,  is  equally  typical. 
Note  the  circle  of  angels  above,  and  the  trio 
playing  musical  instruments  below,  who  develop 
later  into  the  exquisite  child-cherubs  of  Raphael 
or  Bellini.  Every  detail  here  is  worth  study, 
not  as  art,  but  as  type  or  symbol.  Go  from 
one  picture  of  a  subject  to  others  like  it. 

In  21,  St.  Vincent  Ferrer,  the  Dominican, 
may  be  studied  for  future  recognition. 

Number  20  has  a  Trinity,  noticeable  for  its 
very  youthful  Eternal  Father,  Compare  its  St, 
Michael  with  that  in  the  last.  The  St.  Anthony 
the  Abbot  is  also  characteristic.  To  the  ex- 
treme right,  beyond  St.  Francis,  stands  St. 
Julian,  patron  saint  of  Rimini,  Do  not  over- 
look the  six-winged  red  seraphs,  and  the 
Annunciation  in  the  lozenges.  The  inscrip- 
tion gives  the  name  of  the  donor  and  the 
date,    141 6. 

Number  18  is  another  St.  Bernardino  of 
Siena,  bearing  the  IHS,  with  which  we  are  al- 


The  Belle  Arti.  147 

ready  familiar  at  Santa  Croce.  Observe  the 
well-known  portrait  character  of  the  pictures 
of  this  saint.  The  picture  is  from  the  Francis- 
can convent  of  Monte  Oliveto. 

Number  14,  a  Madonna  with  cardellino  or 
goldfinch,  by  Bicci  di  Lorenzo,  may  be  com- 
pared with  the  so-called  Cimabue  close  by. 
Note  that  this  is  a  Franciscan  picture  (from 
San  Francesco  in  Fiesole)  ;  therefore  it  has  St. 
Francis  with  the  stigmata,  St.  Louis  of  Toulouse 
habited  as  a  bishop  in  a  red  robe,  spangled  with 
fleurs-de-lis,  and  with  the  crown  which  he  re- 
jected lying  at  his  feet,  as  well  as  St.  Anthony 
of  Padua,  holding  the  flames,  and  St.  Nicholas 
of  Bari  with  his  three  golden  balls.  Do  not 
omit  to  note  throughout  such  details  as  the 
flamelike  ornaments  on  the  heads  of  the  angels, 
and  the  subjects  represented  on  the  bishops' 
robes.  All  these  will  often  cast  light  upon  the 
nature  of  the  subjects. 

Cross  over  the  room  to  the  opposite  side  and 
return  toward  the  door. 

Naimber  13  is  another  Franciscan  picture, 
with  the  same  three  Franciscan  saints  as  14, 
reinforced  by  St.  Bernardino  of  Siena,  once 
more   bearing  his  IHS ;    St.  Jerome,  with   his 


148  Florence. 

cardinal's  hat  and  open  book  (as  translator  of 
the  Vulgate),  and  St.  Sebastian  holding  his 
arrow  and  palm  of  martyrdom.  The  last  figure 
shows  the  work  to  be  probably  a  votive  offering 
for  the  plague,  painted  for  a  Franciscan  church. 
It  comes  from  the  Florentine  convent  of  St. 
Jerome,  whence  that  saint  is  introduced  with 
the  others. 

Number  1 2,  the  Life  of  the  Virgin  is  interest- 
ing to  compare  with  Fra  Angelico's  scenes  in  the 
adjoining  room,  and  with  the  little  series  of  his- 
tories by  Giotto  to  be  noticed  later.  Contrast 
particularly  the  Flight  into  Egypt  and  the 
Adoration  of  the  Magi  with  other  treatments. 
The  way  in  which  Joseph  examines  the  Elder 
King's  gift  is  highly  characteristic.  The  de- 
velopment of  these  subjects  from  those  (in 
fresco)  by  Giotto  in  the  Arena  at  Padua  is  very 
instructive.  Do  not  omit  the  Madonna  ascend- 
ing above  in  a  mandorla,  with  the  kneeling 
donor,  nor  the  little  Annunciation  in  the 
lozenges  of  the  gables. 

Number  1 1  has  its  saints  named.  Compare 
them  with  20  just  opposite.  You  will  thus  be 
enabled  to  form  a  type  of  St.  Julian.  The  St. 
Peter  and  St.  Paul  in  the  lozenges  above  are 


The   Belle  Arti.  149 

also  typical.  Note  their  features.  You  will  by 
this  time  be  familiar  with  the  characteristic  faces 
assigned  to  St.  Anthony  with  his  crutch,  and  to 
St.  John  the  Baptist.  Observe  in  later  art  that 
the  somewhat  infantile  innocence  of  St,  Law- 
rence is  preserved  but  modified. 

In  10,  a  Crucifixion,  note  the  scorpion  banner 
frequent  with  the  soldiers  who  kill  the  Redeemer, 
and  identify  all  the  personages. 

Number  9  is  interesting  for  its  inscription, 
and  its  group  of  saints,  who  are  excellent  types 
of  their  personages,  —  Nicholas  of  Bari,  Bar- 
tholomew, San  Firenze  (a  local  bishop),  and  St. 
Luke.  It  comes  from  the  church  of  San 
Firenze  in  Florence,  which  is  why  that  saint  is 
so  prominent. 

Number  8,  by  Ugolino  da  Siena,  should  be 
compared  with  the  two  works  on  the  same  sub- 
ject (Coronation  of  the  Virgin)  by  Neri  di  Bicci. 
In  the  great  group  of  saints  beside  it  you  will 
now  have  no  difficulty  in  distinguishing,  to  the 
left,  St.  Peter  Martyr  with  his  wounded  head,  in 
Dominican  robes  ;  St.  Paul,  with  his  sword  ;  St. 
Bartholomew,  with  his  knife ;  to  the  right,  St. 
Peter,  with  the  keys ;  St.  John  the  Baptist ; 
St.    Dominic,   with    his    lily ;  and   St.    Thomas 


<i^' 


1 50  Florence. 

Aquinas,  with  his  ray-bearing  book.  Notice 
that  this  is  therefore  a  Dominican  work.  As 
a  matter  of  fact,  it  long  occupied  the  High  Altar 
of  Santa  Maria  Novella,  which  shows  how  im- 
portant it  is  to  understand  the  origin  of  a  picture. 
You  can  now  see  why  the  Virgin  is  there  (the 
church  being  hers)  ;  and  why  the  Dominicans 
and  St.  John  the  Baptist  accompany  her.  A  little 
inspection  will  also  enable  you  to  identify  many 
other  figures,  such  as  that  of  St.  Gregory  the 
Pope  (behind  Peter  and  John),  with  the  Spirit 

l^y^o'-^'^'^      ^s  ^  dove   whispering    in    his    ear,   as    always. 

s^  -y^^^ '       Remember    each    saint    you    identify,   and   use 

^ '-^  v^"'        him  for  later  identifications. 

y^'^^  "^r^'  '      -^^  7  y^^  ^'^^  have  no  difficulty  in  distinguish- 

^-"^"^^  ^ ^'^    ing  St.  Lawrence,  St.  Sebastian,  St.  James,  St. 

\.^  John,  etc.     The  gradino  has  subjects  from  the 

legend  of  Joachim  and  the  Madonna  —  her 
birth.  Presentation  in  the  Temple,  Sposalizio, 
etc.,  with  which  the  frescoes  in  Santa  Croce 
will  have  familiarised  you. 

Number  6  contains  a  version  of  the  frequent 
subject  of  the  Virgin  ascending  to  heaven  and 
dropping  her  girdle,  the  Sacra  Cintola,  to  St. 
Thomas,  many  variants  upon  which  will  occur 
in  other  rooms  in  this  gallery.     As  the  girdle 


The   Belle  Arti. 


151 


was  preserved  at  Prato,  this  was  a  common 
theme  in  this  district. 

Number  5  contains  another  Annunciation, 
where  all  the  adjuncts  are  extremely  typical. 
Observe  the  quaint  figure  of  St.  Luke  painting 
the  Madonna.  In  the  other  saint  you  will  recog- 
nise St.  Apollonia. 

Number  4  is  a  somewhat  unusual  type  of 
Presentation,  with  a  good  characteristic  figure 
of  St.  Benedict.  If  you  can  read  Latin,  make 
out  the  inscription  on  this  and  other  pictures. 
They  often  help  you. 

I  cannot  too  strongly  recommend  close  study 
of  these  superficially  unattractive  pictures,  which, 
nevertheless,  contain  the  germ  of  all  that  comes 
after  in  Tuscan  and  Umbrian  art.  Go  over 
them  again  and  again,  till  you  are  sure  you 
understand  every  figure.  I  would  advise  you 
to  get  the  official  catalogue,  and  note  in  every 
case  whence  the  picture  comes,  as  well  as  why 
the  various  saints  are  in  it. 

Now  pass  straight  along  this  entrance  hall 
till  you  reach  the  Cupola,  with  the  **  David  of 
Michael  Angelo  transferred  to  this  place  from 
the  door  of  the  Palazzo  Vecchio.  This  famous 
statue,  the  first  great  work  in  sculpture  of  the 


152  Florence. 

artist,  was  modelled  out  of  a  block  of  marble 
which  had  been  spoiled  and  abandoned.  (Read 
the  good  remarks  on  the  subject  in  Baedeker.) 
In  this  youthful  effort  Michael  Angelo  shows 
more  poetry,  and  less  of  his  rugged  massive- 
ness,  than  in  his  latter  work.  Both  in  painting 
and  sculpture  he  is  more  attractive,  indeed,  in 
his  treatment  of  the  youthful  nude  male  form 
than  in  his  women  or  his  elder  men  and  draped 
figures.  Remember  that  this  is  a  great  master- 
piece. 

c-^'*'\^'*^,  ,  Adjoining  the  David  is  a  collection  of  casts 
^^'^^^  of  all  the  plastic  work  of  Michael  Angelo. 
■^  ^-^  j^  Taking  this  room  in  connection  with  the  Medici 
tombs  in  the  Nuova  Sagrestia  at  San  Lorenzo, 
you  get  a  better  opportunity  of  studying  Michael 
Angelo's  work  as  a  sculptor  than  can  possibly 
be  attained  anywhere  else.  As,  however,  these 
works  require  merely  a  general  taste  for  sculp- 
ture, and  close  observation  and  comparison  on 
the  part  of  the  visitor,  for  their  proper  apprecia- 
tion, they  do  not  enter  into  the  special  scheme 
of  this  work,  which  is  purely  explanatory.  I 
recommend  long  and  attentive  scrutiny  of  all, 
with  the  aid  of  such  critical  remarks  as  are  to 
be  found  in  the  various  valuable  books  on  the 


J" 


The  Belle  Arti.  153 

subject  of  Michael  Angelo  by  English  and  Ger- 
man critics  (Springer,  Symonds,  etc.).     Do  not        ^s- 
study  the  sculpture  at  the  same  visit  with  the    3^^T 
pictures.      Go   to   San  Lorenzo  on  a  separate 
day,  and  then  come  back  here  more  than  once 
for  comparison. 


o 


CHAPTER    XI. 

THE    HALLS    OF    PERUGINO    AND    BOTTICELLI. 

PASS  along  the  corridor  containing  the 
casts,  and  enter  the  first  door  on  the 
left,  which  leads  to  the  Sala  del  Perugino. 

This  room  and  the  two  adjoining  ones  con- 
tain the  noblest  and  most  beautiful  pictures  of 
the  Florentine  Renaissance.  Strictly  speaking, 
in  order  to  preserve  the  chronological  order, 
you  ought  to  go  first  to  the  Sala  dei  Maestri 
Toscani ;  but  as. you  must  return  to  the  Acad- 
emy many  times,  it  will  do  you  no  harm  to 
begin  in  this  manner. 

To  the  right  of  the  doorway  is  **  5  7,  a  very 
noble  Perugino,  representing  the  Assumption 
of  the  Virgin,  in  a  mandorla,  surrounded  by  a 
group  of  cherubs  in  the  same  shape.  Her  atti- 
tude, features,  and  expression  of  ecstatic  adora- 
tion, as  well  as  the  somewhat  affected  pose  of 
her  neck  and  hands,  are  all  extremely  charac- 
154 


/ 


PERUGINO. ASSUMPTION    UF    THE    VIRGIN     (DETAIL). 


Halls  of  Perugino  and   Botticelli.    155 

teristic  of  Perugino.  So  are  the  surrounding 
groups  of  standing  and  flying  angels  ;  the  angel 
immediately  to  the  spectator's  left  of  the  Ma- 
donna has  also  the  characteristic  poise  of  the 
head.  Above  is  the  Eternal  Father,  in  a  circle, 
with  adoring  angels.  Below  stand  four  Vallom- 
brosan  saints,  as  spectators  of  the  mystery 
(the  picture  comes  from  the  great  suppressed 
monastery  of  Vallombrosa).  You  will  grow 
familiar  with  this  group  in  many  other  parts 
of  the  gallery,  as  most  of  the  pictures  were 
brought  here  at  the  suppression.  The  saints 
are  San  Bernardo  degli  Uberti  (in  cardinal's 
robes) ;  San  Giovanni  Gualberto  (the  founder) ; 
St.  Benedict  (in  brown) ;  and  the  Archangel 
Michael.  Note  their  features.  The  figure  of 
St.  Michael,  in  particular,  may  be  well  com- 
pared with  the  other  exquisite  St.  Michael,  also 
by  Perugino,  from  the  great  altar-piece  in  the 
Certosa  di  Pavia,  now  in  the  National  Gallery 
in  London.  This  Assumption  is  one  of  Peru- 
gino's  finest  and  most  characteristic  works.  It 
deserves  long  and  attentive  study.  Such  com- 
positions, with  a  heavenly  and  earthly  scene 
combined,  are  great  favourites  with  Umbrian 
painters.     (See   them  at   Perugia,   and  in   Ra- 


156  Florence. 

phael's  Disputa  in  the  Vatican.)  Do  not  fail 
to  notice  the  beautiful  landscape  background 
of  the  country  about  Perugia.  Study  this  work 
as  a  model  of  Perugino  at  his  best. 

On  the  left  wall  is  56,  *  Perugino,  the  De- 
scent from  the  Cross,  a  beautiful  composition. 
The  scene  takes  place  in  characteristic  Renais- 
sance architecture.  The  anatomy  and  painting 
of  the  dead  nude  are  worthy  of  notice.  Ob- 
serve the  way  in  which  the  Madonna's  face  and 
head  stand  out  against  the  arch  in  the  back- 
ground, as  well  as  the  somewhat  affected  piet- 
ism of  all  the  actors.  On  the  right  are  the 
Magdalen  and  Joseph  of  Arimathea ;  on  the 
left,  St.  John  and  Nicodemus.  Notice  their 
types. 

Beyond  the  door,  53,  is  a  Perugino,  the 
Agony  in  the  Garden.  The  attitudes  of  the 
Saviour  and  the  three  sleeping  apostles  are  tra- 
ditional. Look  out  for  them  elsewhere.  The 
groups  of  soldiers  in  the  background  are  highly 
redolent  of  Perugino's  manner.  So  is  the  charm- 
ing landscape.  Compare  this  angel  with  those 
in  the  Vallombrosan  picture  first  noted  in  this 
room.  Observe  Perugino's  quaint  taste  in 
head-dresses ;    also,   throughout,   here    and   in 


Halls  of  Perugino  and   Botticelli.    157 

the  Assumption,  the  Umbrian  isolation  and 
abstractness  of  his  figures. 

Above,  on  this  wall,  *  5  5,  is  a  Fra  Filippo 
Lippi,  a  very  characteristic  Madonna  and  Child 
enthroned.  The  Medici  saints,  Cosimo  and 
Damian,  in  their  red  robes,  and  two  holy  Fran- 
ciscans, St.  Francis  and  St.  Anthony  of  Padua, 
stand  by.  The  faces  and  dresses  of  the  Medici 
saints  are  typical.  The  Madonna  belongs  to 
the  human  and  somewhat  round-faced  type  in- 
troduced into  Tuscan  art  by  Filippo  Lippi. 
Note,  in  the  arcaded  niches  at  the  back,  a 
faint  reminiscence  of  the  older  method  of  paint- 
ing the  saints  in  separate  compartments.  This 
is  a  lovely  picture ;  do  not  hurry  away  from  it. 
It  comes,  you  might  guess,  from  a  Franciscan 
monastery  —  namely,  Santa  Croce.  I  took  you 
first  to  that  church  and  Santa  Maria  in  order 
that  such  facts  might  be  the  more  significant 
to  you. 

Number  54  is  a  Fra  Filippo  Lippi,  St.  Jerome 
in  the  desert,  with  his  lion  in  the  background, 
and  his  cardinal's  hat  and  crucifix.  The  im- 
possible rocks  smack  of  the  period.  This  is  a 
traditional  subject  which  you  will  often  meet 
with.       Don't    overlook    the    books    and    pen 


158  Florence. 

which    constantly    mark   the   translator  of    the 
Vulgate. 

Number  52  is  a  St.  Barbara,  by  Cosimo  Ros- 
selli,  a  curious  but  characteristic  example  of  this 
harsh  though  very  powerful  painter.  In  the 
centre  stands  St.  Barbara  herself,  with  her 
tower  and  palm  of  martyrdom,  as  if  just  rising 
from  the  throne  on  which  she  had  been  sitting. 
Beneath  her  feet  is  a  fallen  armed  figure,  some- 
times interpreted  as  her  father,  sometimes  as  the 
heathen  proconsul,  Marcian,  who  ordered  her 
execution.  The  picture,  however,  as  the  Latin 
elegiac  beneath  it  relates,  was  painted  for  the 
German  Guild  of  Florence.  Now,  St.  Barbara 
was  the  patroness  of  artillery  (the  beautiful 
Palma  Vecchio  of  St.  Barbara  at  Venice  was 
painted  for  the  Venetian  Guild  of  Bombardiers). 
I  take  the  figure  on  whom  she  tramples,  there- 
fore, though  undoubtedly  an  emperor  in  arms,  to 
be  mainly  symbolical  of  the  fallen  enemy.  In 
short,  the  picture  is  a  Triumph  of  Artillery. 
To  the  left  stands  the  St.  John  of  Florence ; 
to  the  right  St.  Matthias  the  Apostle,  with  his 
sword  of  martyrdom.  Two  charming  angels 
draw  aside  the  curtains :  a  frequent  feature. 
Study    this    as    a    typical    example    of    Cosimo 


Halls  of  Perugino  and   Botticelli.    159 

Rosselli.     It  comes  from  the  Florentine  Church 
of  the  Annimziata. 

On  the  right  wall,  near  the  window,  *  66,  is 
a  Ghirlandajo,  a  Madonna  and  Child,  enthroned, 
in  reality  a  Glorification  of  the  Angels.  (It 
must  have  come,  I  think,  from  some  church 
degli  Angeli.)  To  the  left  stands  St.  Dionysius 
the  Areopagite,  who  was  said  to  have  written  a 
treatise  (still  existing)  on  the  angelic  hierarchy 
(drawn  from  Hebrew  sources).  Kneeling  at  the 
feet  is  his  spiritual  father,  St.  Clement  the  Pope, 
as  a  secondary  personage.  To  the  right  is  St. 
Thomas  Aquinas,  in  his  Dominican  robes  and 
with  his  open  book,  as  the  great  vindicator  of 
the  position  of  the  angels.  Kneeling  at  the  feet 
is  his  spiritual  father,  St.  Dominic.  The  picture 
was  clearly  painted  for  the  Dominicans  ;  but  the 
figures  are  placed  in  diagonal  order,  I  believe 
by  some  misconception  of  the  donor's  wishes. 
Observe  that  the  angels  in  whose  honour  this 
fine  picture  is  painted  are  here,  quite  excep- 
tionally, provided  with  starry  halos.  Beneath 
the  main  picture,  a  series  of  little  works  in  a 
predella,  containing  stories  from  the  lives  of 
these  saints  —  decapitation  of  St.  Denis  (identi- 
fied with  Dionysius  the  Areopagite)  ;  he  carries 


i6o 


Florence. 


.^. 


^^..^ 


his  head  ;  St.  Dominic  restores  the  young  man 
Napoleon  to  life,  doubly  represented,  etc. 

Number  65,  above,  a  Luca  Signorelli,  the 
Madonna  embracing  the  Cross,  is  a  good  sample 
of  this  able  and  powerful  Renaissance  painter. 

Beyond  the  door,  62,  is  **  Filippo  Lippi's 
Coronation  of  the  Virgin,  the  finest  altar-piece 
by  this  great  master.  It  is  well  to  compare  it 
with  the  earlier  treatments  of  the  same  subject 
in  the  corridor,  from  which  it  is,  oh,  how  much, 
developed  and  beautified.  I  will  not  attempt 
any  description  of  this  noble  and  beautiful  work, 
one  of  the  masteri^ieces  of  early  Italian  painting. 
I  will  merely  call  attention  to  a  few  formal  points 
in  it.  Notice  first,  in  the  centre,  the  extremely 
human  Virgin,  no  longer  the  Queen  of  Heaven, 
but  a  Florentine  lady,  whose  features  reappear 
again  in  the  touching  figure  in  blue  in  the  right 
foreground,  with  the  two  children  (said  to  repre- 
sent Lucrezia  Buti,  the  painter's  wife,  and  their 
two  little  ones,  including  Filippino.  Read  up 
the  romantic  story  of  their  elopement  in  any 
good  history).  On  either  side  of  the  throne, 
adoring  angels  with  sweet  childish  faces.  The 
rest  looks  confused  at  first,  but  will  gradually 
unravel    itself    into   a    celestial    and   terrestrial 


Halls  of  Perugino  and   Botticelli.    i6i 

scene,  with  saintly  mediators.  To  the  extreme 
right  is  St.  John  of  Florence,  preserving  his  tradi- 
tional features,  but  transformed  and  transfigured 
by  spiritual  art.  He  introduces  and  patronises 
the  kneeling  figure  of  Filippo  Lippi  beside  him, 
whom  a  scroll  in  Latin  ("  This  man  composed 
the  work  ")  designates  as  the  painter.  To  the 
left  are  St.  Zenobius  and  other  saints,  amongst 
whom  the  patriarch  Job  is  specially  identified 
by  the  very  inartistic  device  of  writing  his 
name  on  his  shoulder.  Do  not  overlook  the 
frequent  obtrusion  of  the  Florentine  lily.  This 
picture  can  be  adequately  appreciated  only 
after  many  visits.  It  is  one  of  the  most  ex- 
quisite things  to  be  seen  in  Florence.  Very 
human  in  its  models,  it  is  divine  and  spiritual  in 
its  inner  essence. 

Above  it,  63,  is  a  Trinity,  in  the  conventional 
form,  by  Mariotto  Albertinelli :  good,  but  unin- 
teresting. 

The  other  pictures  in  this  room,  including 
the  fragment  of  two  charming  little  angels  by 
Andrea  del  Sarto  (from  Vallombrosa),  though 
deserving  attention,  do  not  stand  in  need  of 
interpretation.  Examine  every  one  of  them, 
especially  that  attributed  to  Francia. 


1 62  Florence. 

Now,  enter  the  room  to  the  right,  the  Sala 
Prima  del  Botticelli.     Facing  you  as  you  enter 
,      is    **  80,    Botticelli's    Primavera,    perhaps    the 
^<y^  _j^        most    beautiful    picture    in    the    world.       This 
oS>^  ^^  '*''\,    exquisite  allegory  has  been  variously  explained. 
"^ ^^  ~^  .,       I  give  my  own  interpretation.      It  is  probably 
,^^fl^"^^^_^     one  of  four  panels  representing  the  seasons.     In 
xSi^f^'^o,^  ^^^" ,  the  centre  stands  the  figure  of  Spring,  who  is 
^t*-'"^J,j2->-*^"^    therefore  significantly  painted  as  pregnant.     To 
"^     ,^sfi"^      ^^  extreme  left,  Mercury,  the  god  of  change, 
^^y^*^^*>''*_^with  his  caduceus,  dispels  the  clouds  of  winter. 
(Perhaps  rather  Favonius,  the  west  wind,  in  the 
guise  of  Mercury.)     Beside  him,  an  unspeakably 
beautiful  group  of  the  Three  Graces,  lightly  clad 
in   transparent  raiment,  represent  the  joy  and 
freshness  of  spring-time ;    on  whom   a  winged 
and  blindfolded  Love,  above  the  head  of  Prima- 
vera, is  discharging  a  fiery  arrow  —  since  spring 
^-  ,,^^^    ^    is  the  period   of    courtship  and   mating.     The 
c^->^\>'^»<''\Jigures  to  the  right  represent  the  three  spring 
•^  v'^-sf^'  ,  months.     On  the  extreme  right  is  March,  cold 
^^^,,;^^^^^''    «-"and  blue,  blowing  wind  from  his  mouth  (notice 
:^  ^:\j^f^  •^""  the  rays),  lightly  clad,  and  swaying  the  trees  as 
^'^  S^  ^-'     he  passes  through  them.     Next  to  him,  as  if  half 
^3^**^^' v*^       escaping  from  his  grasp,  is  April,  somewhat  more 
^_^'  ^-     fully  draped  in  a  blue  and  white  sky.     On  the 


BOTTICELLI.  —  THREE  GRACES  (DETAIL  OF  THE  I'RIMAVERA). 


Halls  of  Peruglno  and   Botticelli.   163 

hem  of  her  robe  green  things  are  just  sprouting. 
She  seems  as  if  precipitating  herself  into  the  lap 
of  May,  who,  erect  and  sedate,  fully  clad  in  a 
flowery  robe,  scatters  blossoms  as  she  goes 
from  a  fold  of  her  garment.  March  blows  on 
April's  mouth,  from  which  flowers  fall  into  the 
lap  of  May.  The  obvious  meaning  is  "  March 
winds  and  April  showers  bring  forth  May 
flowers,"  —  a  Tuscan  equivalent  for  which  prov- 
erb still  exists  in  Italy.  The  action  of  March's 
hands  probably  represents  the  old  idea  that  he 
borrows  three  days  from  April.  I  will  not  at- 
tempt to  say  anything  about  the  aesthetic  beauty 
of  this  exquisitely  spiritual  and  delicate  work.  It 
is  one  of  those  profound  pictures  which  must  be 
visited  again  and  again,  and  which  gain  in  inten- 
sity every  time  you  look  at  them.  As  to  place, 
it  was  painted  for  Lorenzo  de'  Medici's  villa  at 
Castello :  notice  it  as  one  of  the  first  purely 
secular  paintings,  with  Renaissance  love  of  the 
nude,  which  we  have  yet  come  across. 

To  the  left  of  it,  *8i,  is  a  Visitation,  by 
Pacchiarotto.  The  central  part  of  the  picture 
should  be  compared  with  the  Mariotto  Alberti- 
nelli  in  the  Uffizi.  The  arrangement  of  the 
figures  and  the  way  they  are  silhouetted  against 


164  Florence. 

the  arch  is  afmost  identical.  It  should  also  be 
compared  with  the  Ghirlandajo  in  the  Louvre 
(where  the  first  use  of  the  arch  in  this  way 
occurs)  and  other  examples,  such  as  the  Giotto 
at  Padua.  This,  however,  is  not  a  Visitation 
simple,  but  a  Visitation  with  attendant  saints, 
amongst  whom  to  the  left  stands  St.  John  the 
Baptist.  He,  of  course,  could  not  possibly  have 
been  present  at  the  moment,  as  he  was  still 
unborn  —  thus  well  showing  the  nature  of  these 
representative  gatherings.  Kneeling  in  the  fore^ 
ground  to  the  right  is  St.  Vincent,  the  patron 
saint  of  prisoners,  holding  handcuffs,  whence  it 
is  probable  that  the  picture  was  a  votive  offering 
for  a  release  from  Barbary  pirates  or  some  form 
of  captivity.  Behind  is  St.  Nicholas  of  Bari, 
with  his  three  golden  balls.  The  other  saints 
are  the  two  St.  Anthonies  —  the  Abbot,  and  the 
Paduan :  note  their  symbols.  Most  probably 
the  donor  was  an  Antonio  who  wished  to  stand 
well  with  both  his  patrons.  The  architecture 
of  the  triumphal  arch  shows  study  of  the  an- 
tique. The  bronze  horses  are  suggested  by 
those  over  the  doorway  of  St.  Mark's  at  Venice. 
Note  the  dove  brooding  above  the  picture.  The 
technique  of  this  somewhat  hard  and  dry  but 


Halls   of  Perugino  and   Botticelli.    165 

admirable  and  well-painted  work  deserves  close 
attention.  I  have  entered  at  length  into  the 
evolution  of  Visitations  in  one  of  my  papers  in 
the  Pall  Mall  Magazme. 

Below  it,  82,  is  a  Fra  Filippo  Lippi,  a  Nativ- 
ity ;  good  and  characteristic.  Note  the  ruined 
temple,  ox  and  ass,  etc.,  as  well  as  Lippi's  nascent 
endeavour  to  overcome  the  difficulty  of  placing 
the  attendant  saints,  well  shown  in  the  figure  of 
the  Magdalen  to  the  right  of  Our  Lady.  He  is 
striving  hard  after  naturalistic  positions.  The 
infant,  of  course,  is  Lippi  all  over.  Beneath 
the  St.  Jerome,  observe  the  figure  of  the  kneel- 
ing St.  Hilarion,  doubtless  the  name  saint  of 
the  donor.  The  whole  of  this  quaint  work  is 
highly  interesting  as  exhibiting  the  conscious 
effort  after  greater  freedom,  not  yet  wholly 
successful. 

Number  79,  opposite,  the  Virgin  adoring  the 
Child,  by  Fra  Filippo  Lippi,  is  a  very  similar 
picture.  It  should  be  closely  compared  with 
the  preceding.  The  hands  of  God  appearing 
through  the  clouds,  discharging  the  Holy  Spirit, 
are  an  interesting  feature.  Note  again  the  at- 
tempt to  introduce  the  youthful  St.  John  the 
Baptist  of  Florence  in  a  more  natural  manner. 


1 66  Florence. 

Compare  with  the  great  Coronation  of  the 
Virgin.  From  about  this  time,  too,  Renais- 
sance feehng  makes  the  young  St.  John  (more 
or  less  nude)  tend  to  supersede  the  adult  repre- 
sentation. Study  these  two  pictures  carefully. 
The  saint  in  white  is  St.  Romuald,  the  founder 
of  the  Camaldolese :  this  altar-piece  comes  from 
Camaldoli. 

Number  yS  is  a  Perugino ;  the  Crucifixion 
with  the  Madonna  and  St.  Jerome,  the  latter  at- 
tended (as  usual)  by  his  lion.  Our  Lady  is  a 
good  figure,  but  the  rest  of  the  picture  is  un- 
worthy of  Perugino.  It  comes  from  the  monas- 
tery of  St.  Jerome  in  Florence  —  whence  the 
saint. 

Number  76  is  an  Andrea  del  Sarto ;  the  sub- 
jects four  Vallombrosan  saints,  originally  painted 
on  either  side  of  an  adored  Virgin,  much  older. 
To  the  left  is  St.  Michael ;  observe  the  exquisite 
painting  of  his  robe  and  armour.  The  other 
saints  are  San  Giovanni  Gualberto  (the  founder), 
San  Bernardo  degli  Uberti,  and  St.  John  the 
Baptist.  Compare  them  with  the  group  of 
similar  saints  in  Perugino's  Assumption.  Both 
for  character  and  technique  such  comparison  is 
most  luminous. 


BOTTICELLI.  —  CORONATION    OF    THE    VIRGIN. 


Halls  of  Perugino  and  Botticelli.    167 

Number  73  is  Botticelli's  Coronation  of  the 
Virgin  (from  the  monastery  of  San  Marco). 
The  main  subject  of  this  vehement  work  should 
be  compared,  or  rather  contrasted,  with  the 
early  Giottesque  examples.  The  beautiful  and 
rapturous  flying  angels  are  highly  characteristic 
of  Botticelli's  ecstatic  conception.  Observe  the 
papal  tiara  worn  by  the  Father.  In  the  earthly 
scene  below  are  four  miscellaneous  saints  ob- 
serving the  mystery.  I  do  not  understand  the 
principle  of  their  selection.  They  are  St.  John 
the  Evangelist,  St.  Augustine,  St.  Jerome,  and 
St.  Eloy  (Eligius),  the  holy  blacksmith.  Look 
for  the  last  again  on  Or  San  Michele,  where 
one  of  his  miracles  is  recorded  in  bas-relief 
under  his  statue,  where  he  is  similarly  repre- 
sented in  his  blacksmith's  forge  in  the  predella.  w-«-^  .--.oo^ 
See  Mrs.  Jarneson.  '^"^^^^^-'^^  ^ 

On  the  right  of  it  *  is  Verrocchio's  Baptism,  jL-^^'^H.a"'' 
perhaps  the  most  famous  example  of  this  well-  ^^x'"'^^ 
known  subject.  Somewhat  hard  and  dry,  with 
peasant-like  ascetic  features,  the  St.  John  is  yet 
a  noble  figure,  very  well  painted,  with  excellent 
anatomical  knowledge.  His  position,  as  well  as 
the  cup  which  he  raises  and  the  cross  which  he 
holds,  are  strictly   conventional ;    they  may  be 


1 68  Florence. 

seen  in  many  earlier  examples.  So  also  is  the 
course  of  the  narrow  and  symbolical  Jordan. 
The  angels  on  the  bank,  re^Dlacing  the  earlier 
river-god  of  the  Ravenna  mosaics,  and  holding 
the  conventional  towel,  are  extremely  beautiful. 
The  softer  and  more  delicately  touched  of  the 
pair  to  the  left  is  said  to  have  been  painted  in 
by  Leonardo  (a  pupil  of  Verrocchio),  and  indeed 
it  seems  to  bear  the  impress  of  that  great 
painter's  youthful  manner.  Do  not  overlook 
the  hands  discharging  the  dove.  I  have  treated 
more  fully  the  evolution  of  this  subject  in  an 
article  on  "  The  Painter's  Jordan  "  in  the  English 
Illustrated  Magazine. 

Number  70,  a  Masaccio,  is  a  very  inadequate 
specimen  of  this  great  painter.  The  Madonna 
and  Child  sit  on  the  lap  of  St.  Anne,  a  conven- 
tional position  charmingly  transformed  by  Leo- 
nardo in  his  well-known  picture  in  the  Louvre. 

On  the  base  of  this  wall  are  several  small 
stories  of  saints  which  should  be  studied  in  de- 
tail. Among  those  by  Botticelli  (already  referred 
to),  notice  particularly  St.  Eloy  (St.  Eligius), 
the  holy  blacksmith,  cutting  off  the  leg  of  a 
refractory  horse  in  order  to  shoe  it,  and  after- 
ward miraculously  restoring  it.     Compare  with 


Halls  of  Perugino  and  Botticelli.    169 

the  same  subject  at  Or  San  Michele.  Close  by 
is  a  very  charming  series  by  Pesellino,  the 
best  of  which  is  the  Martyrdom  of  the  Medici 
saints,  Cosimo  and  Damian.  Observe  them  for 
comparison  with  Fra  Angelico  in  an  adjoining 
room.     Read  up  in  Mrs.  Jameson. 

Number  69,  by  Michele  Ghirlandajo  (do  not 
confound  him  with  his  great  namesake),  is  a 
Marriage  of  St.  Catherine  of  Siena  (not  Alex- 
andria). Distinguish  these  two  subjects.  This 
is  an  unusual  treatment,  the  Christ  being  repre- 
sented as  adult  (he  is  usually  an  infant  in  this 
scene)  and  the  Madonna  as  an  elderly  woman. 
Not  a  good  picture,  but  interesting  for  com- 
parison with  others  of  this  subject.  The  assist- 
ant saints  are  St.  Paul,  King  David,  St.  John, 
and  St.  Dominic.  The  insipid  St.  Catherine 
contrasts  most  markedly  with  the  inimitably 
beautiful  figure  by  Borgognone  in  the  National 
Gallery.  The  picture  comes  from  the  Domini- 
can convent  of  Santa  Caterina  at  Florence, 
which  explains  all  the  characters. 

Beyond  the  door  is  a  Granacci,  the  Assump- 
tion of  the  Virgin,  an  unusually  fine  specimen  of 
this  comparatively  late  painter.  On  the  ground 
below  are  St.  Bernardo  degli  Uberti,  St.  Michael 


170  Florence. 

the  Archangel,  San  Giovanni  Gualberto,  and 
St.  Catherine  of  Alexandria  with  her  spiked 
wheel.  You  will  now  have  little  difficulty  in 
discovering  for  yourself  that  this  is  essentially 
a  Vallombrosan  picture.  It  comes  from  the 
monastery  of  Santo  Spirito. 

Recross  the  Perugino  Room  and  enter  the 
Sala  Seconda  del  Botticelli. 

On  the  entrance  wall  to  the  left,  98,  is  a 
*  Descent  from  the  Cross,  the  upper  portion 
by  Filippino  Lippi,  with  whose  style  you  will 
already  have  become  familiar  at  Santa  Maria 
Novella.  Filippino  died  leaving  it  unfinished, 
and  the  lower  part,  with  the  fainting  Madonna 
and  saints,  was  added  by  Perugino.  This  is  an 
excellent  opportunity  for  comparing  the  styles 
of  the  two  painters.  The  Mary  to  the  right 
supporting  the  Madonna  is  extremely  Peru- 
ginesque  in  face  and  attitude.  Note  the  three 
nails  in  the  foreground  which  recur  elsewhere. 
Compare  also  the  kneeling  Magdalen  with  Fra 
Angelico  at  San  Marco.  Observe  how  differ- 
ently hands  and  feet  are  by  this  time  painted. 
In  both  parts  of  this  picture  we  have  good  ex- 
amples of  the  increased  knowledge  of  anatomy, 
of  the  nude,  of  perspective,  and  of  light  and 


FILIPPINO    LIPPI    AND    PERUGINO. —  DESCENT    FROM    THE 
CROSS. 


Halls  of  Perugino  and   Botticelli.    171 

shade  in  the  later  Renaissance.  Filippino's 
somewhat  fly-away  style  is  also  well  contrasted 
with  Perugino's  affectation  and  pietistic  sim- 
plicity. 

Beyond  the  doorway,  97,  is  a  Fra  Bartolom- 
meo,  the  Madonna  Appearing  to  St.  Bernard. 
A  characteristic  example  of  this,  to  my  mind, 
overrated  painter.  The  crowded  arrangement 
of  the  attendant  angels  is  very  typical.  Com- 
pare with  the  infinitely  nobler  treatment  of  the 
same  subject  by  Filippino  Lippi  in  the  church 
of  the  Badia.  I  advise  you  to  go  straight  there 
from  this  picture  to  visit  it. 

Above  it,  96,  is  a  good  Andrea  del  Sarto, 
charmingly  delicate  in  colouring.  A  Vallom- 
brosan  picture  ;  the  saints  are  again  San  Gio- 
vanni Gualberto  and  San  Bernardo  degli  Uberti. 

Number  94  is  a  Lorenzo  di  Credi,  the  Nativ- 
ity, with  adoring  angels.  Compare  this  with  92 
beside  it,  Adoration  of  the  Magi,  where  the 
Child  is  almost  identical.  This  exquisite  painter 
is  somewhat  less  successful  in  works  on  this 
larger  scale  than  in  the  smaller  examples  of  his 
art  which  we  shall  see  at  the  Uffizi.  Neverthe- 
less, in  92  the  shepherd  to  the  left  is  a  most 
charming  figure.    The  smoothness  and  clearness 


172  Florence. 

of  the  style  is  conspicuous.  Note  throughout 
the  conventional  accessories.  Nothing  is  more 
interesting  than  to  see  the  way  in  which  these 
and  the  landscape  are  transformed  and  improved 
from  earlier  usage.  St.  Joseph's  feet  are  deserv- 
ing of  study. 

Above,  are  two  ascetic  Andrea  del  Castagnos. 
Of  these,  the  companion  figures  of  St.  John  the 
Baptist  and  St.  Mary  Magdalen  (also  combined 
in  the  Baptistery)  must  be  regarded  from  the 
point  of  view  of  the  lean  and  hungry  penitent 
only.  These  pictures  are  good  because  they 
attain  their  object ;  they  are  expressions  of  a 
painful  and  repulsive  ideal. 

Number  90,  a  RaffaelUno  del  Garbo,  the 
Resurrection,  with  sleeping  Roman  soldiers,  is 
worthy  of  attention  for  its  conventional  detail. 

Number  88,  a  Madonna  and  saints,  by  Botti- 
celli, is  a  Franciscan  Medici  picture.  To  the 
extreme  left  is  St.  Mary  Magdalen  with  the 
alabaster  box  of  ointment ;  next  her,  St.  John 
of  Florence ;  then,  the  kneeling  figures  of  Sts. 
Cosimo  and  Damian,  the  former  significantly 
placed  on  the  Madonna's  right.  Beyond  again 
are  St.  Francis  with  the  Stigmata  and  St. 
Catherine  of  Alexandria  with  her  wheel.     The 


Halls  of  Perugino  and   Botticelli.    173 

two  female  saints  and  the  face  of  St.  Damian 
are  very  characteristic  of  Botticelli's  manner. 
A  beautiful  but  not  wholly  satisfactory  example. 

In  85,  *  Botticelli,  Enthroned  Madonna,  with 
adoring  saints,  Our  Lady  and  the  Child  are 
highly  characteristic.  The  angels  drawing  the 
curtains  and  holding  the  crown  of  thorns  and 
three  nails  appear  to  be  portraits  of  Medici 
children.  They  are  very  lovely.  The  female 
saint  to  the  left,  whom  I  take  to  be  St.  Cather- 
ine, is  the  familiar  model  reappearing  in  the 
Three  Graces  of  the  Primavera.  St.  John  of 
Florence,  in  the  foreground,  admirably  repre- 
sents Botticelli's  ideal.  The  St.  Michael  beside 
him,  in  refulgent  armour,  is  also  a  beautiful 
embodiment.  The  other  saints  are  St.  Ambrose 
and  St.  Barnabas  —  the  latter  because  the  altar- 
piece  was  painted  for  the  altar  of  his  church  in 
Florence.  A  picture  not  to  be  lightly  passed 
over. 

The  ascription  of  84  to  Botticelli  is  doubted,  I 
think  unduly.  Comparison  of  these  two  St. 
Michaels  ought  surely  to  satisfy  the  most  skep- 
tical. The  Three  Archangels  conducting  Tobias, 
who  holds  the  fish  which  is  to  cure  his  father 
Tobit.     Such  pictures  are  often  votive  offerings 


174  Florence. 

for  escape  from  blindness.  (Read  the  story  in 
the  Apocrypha.)  The  springy  step  of  all  the 
characters  is  essentially  Botticellian.  Notice 
the  contrasted  faces  of  the  elder  St.  Michael ; 
the  affable  Archangel,  Raphael,  who  holds  the 
boy's  hand  ;  and  the  spiritual  Gabriel,  with  the 
Annunciation  lily.  Study  these  three  Arch- 
angels closely.  I  advise  you  to  compare  all 
these  Botticellis,  noticing  particularly  the  pecul- 
iar sense  of  movement,  the  tripping  grace  and 
lightness  of  his  figures,  as  well  as  the  spiritual 
and  elusive  tone  of  his  somewhat  morbid  faces. 
Botticelli  paints  souls,  where  Ghirlandajo  paints 
bodies. 

You  cannot  spend  too  much  time  in  these 
three  rooms,  which  form  a  perfect  history  of 
the  art  of  the  Renaissance.  Supplement  them  by 
visits  to  the  Brancacci  Chapel  at  the  Carmine, 
and  a  run  over  to  Prato,  where  you  will  find 
the  finest  works  of  Filippo  Lippi. 


CHAPTER  XII. 

THE    TUSCAN    GALLERIES. 

NOW,  go  along  the  Michael  Angelo  corridor  ^ 
as  far  as  the  Long  Gallery,  and  pass  into 
the  Sala  Prima  Toscana. 

This  contains  works  of  the  earlier  mediaeval 
type,  the  culminating  point  of  Giottesque  paint- 
ing. 

In  front  of  you  as  you  enter,  on  easels  in 
the  middle,  are  two  of  the  noblest  and  most 
beautiful  pictures  of  the  early  fifteenth  century. 
That  to  the  left  is  **  Gentile  da  Fabriano's 
Adoration  of  the  Magi,  the  most  gorgeous  altar- 
piece  of  the  Early  Umbrian  School,  still  en- 
closed in  its  original  setting  of  three  arches. 
This  great  work,  which  comes  from  the  Sacristy 
of  Santa  Trinita  in  Florence,  should  be  closely 
studied  in  all  its  details.  Contrary  to  custom, 
the  Madonna  occupies  the  left  field.  The  ruined 
temple  and  shed  to  the  left,  the  attendants 
175 


iy6  Florence. 

examining  the  Elder  King's  gift,  the  group 
of  the  Madonna  and  Child,  with  Joseph  in  his 
conventional  yellow  robe,  and  the  Star  which 
stands  "over  the  place  where  the  young  Child 
was,"  should  all  be  observed  and  compared 
with  other  pictures.  (I  may  mention  parenthet- 
ically that  the  Star  of  Bethlehem  in  Adorations 
is  in  itself  worth  study,  being  sometimes  in- 
scribed with  the  human  face,  and  sometimes 
developed  in  curious  fashions.)  Examine  also 
the  group  of  the  Three  Kings,  the  eldest  of 
whom,  as  usual,  is  kneeling,  having  presented 
his  gift  and  removed  his  crown  ;  while  the  second 
is  in  the  act  of  offering,  and  the  third  and 
youngest,  just  dismounted  from  his  horse,  is 
having  his  spurs  removed  by  an  obsequious  at- 
tendant. The  exquisite  decorative  work  of  their 
robes,  the  finest  product  of  the  Early  Umbrian 
School,  deserves  close  attention.  Note,  next, 
the  cavern  of  the  Apocryphal  Gospels  in  the 
background,  with  the  inevitable  ox  and  ass  of 
the  Nativity.  The  two  or  three  servants  who 
formed  the  sole  train  of  the  Magi  in  earlier 
works  have  here  developed  into  a  great  company 
of  attendants,  mounted  on  horses  and  camels, 
to  mark  their  Oriental  origin,  and  dressed  in 


The  Tuscan  Galleries.  177 

what  Gentile  took  to  be  the  correct  costumes 
of  Asia  and  Africa.  Note  the  excellent  drawing 
(for  that  date)  of  some  of  the  horses,  and  the 
tolerably  successful  attempts  at  foreshortening. 
Observe  likewise  the  monkeys,  the  hunting  leop- 
ard, the  falcons,  and  the  other  strange  animals 
in  the  train  of  the  Kings,  to  suggest  Orientalism. 
All  this  part  of  the  picture  should  be  closely 
compared  with  the  inexpressibly  lovely  Benozzo 
Gozzoli  of  the  Procession  of  the  Kings  in  the 
Riccardi  Palace.  The  face  of  the  Young  King 
is  repeated  in  one  of  the  suite  to  the  extreme 
right.  Examine  all  these  faces  separately,  and 
observe  their  characterisation.  Do  not  overlook 
the  fact  that  the  principal  ornaments  in  this 
splendid  picture  are  raised  in  plaster  or  gesso- 
work,  and  then  gilt  and  painted. 

The  background  of  the  main  picture  also 
contains  three  separate  scenes  of  the  same  his- 
tory. In  the  left  arch,  the  Three  Kings,  in  their 
own  country,  behold  the  Star  from  the  summit 
of  a  mountain.  In  the  centre  arch,  they  ride 
in  procession  to  enter  Jerusalem  and  inquire 
the  way  of  Herod.  In  the  right  arch,  they  are 
seen  returning  to  their  own  country.  Do  not 
be  satisfied,   however,   with   merely  identifying 


lyS  Florence. 

these  points  to  which  I  call  attention  ;  if  you  look 
s^i>^  ^  for  yourself,  you  will  find  others  in  abundance 
well  worth  your  notice.  This  is  a  picture  before 
which  you  should  sit  for  long  periods  together. 

Two  subjects  remain  in  the  predclla,  the  third 
is  missing  here  (now  in  the  Louvre,  Presentation 
in  the  Temple).  To  the  left  is  the  Nativity, 
with  the  angels  appearing  to  the  shepherds.  In 
the  centre  is  the  Flight  into  Fgypt. 

The  gable-ends  or  aispidi  also  contain  figures, 
which  do  not  seem  to  me  by  the  same  hand. 
On  the  right  and  left  is  the  Annunciation,  in 
two  separate  lozenges  ;  in  the  centre,  the  Eter- 
nal Father,  blessing.  The  scrolls  with  names 
will  enable  you  to  identify  the  recumbent  kings 
and  prophets. 

This  picture,  dated  1423,  strikes  the  key-note 
for  early  Umbrian  art.  Observe  how  its  Madonna 
leads  gradually  up  to  Perugino  and  Raphael. 
Softness,  ecstatic  piety,  and  elaborate  decoration 
are  Umbrian  notes.  You  cannot  study  this 
work  too  long  or  too  carefully. 

The  second  of  these  great  pictures  is  Fra 
Angelico's  Descent  from  the  Cross,  —  his  finest 
work  outside  the  realm  of  fresco.  This  also 
deserves  the  closest  study.      Observe  that,  in 


'J 


n^^^mw^m 


The  Tuscan  Galleries.  179 

spite  of  its  large  size,  it  is  essentially  miniature. 
To  the  left  is  the  group  of  the  Mater  Dolorosa 
and  the  mourning  Maries.  Hard  by,  the  Mag- 
dalen, recognisable  (as  always)  by  her  long 
golden  hair,  is  passionately  kissing  the  feet  of 
the  dead  Saviour.  St.  Nicodemus  and  St.  Joseph 
of  Arimathea,  —  the  latter  a  lovely  face,  —  dis- 
tinguished by  their  haloes,  are  letting  down  the 
sacred  body  from  the  Cross,  which  St.  John 
and  another  believer  receive  below.  To  the 
extreme  right  is  a  group  of  minor  disciples, 
one  of  whom  (distinguished  by  rays,  but  I  can- 
not identify  him)  exhibits  the  Crown  of  Thorns 
and  the  three  nails  to  the  others.  The  figure 
in  red  in  the  foreground  is  possibly  intended  for 
St.  Longinus.  Above,  in  the  arches,  are  sympa- 
thising angels.  This  is  a  glorious  work,  full 
of  profound  feeling.  The  towers  and  wall  of 
the  city,  recalling  those  of  Florence,  should  also 
be  noticed.  The  trees  and  landscape  are  still 
purely  conventional. 

On  the  frame  are  figures  of  saints  :  to  the 
left  St.  Michael  the  Archangel,  a  glorious  reali- 
sation ;  St.  Francis  with  the  Stigmata ;  St. 
Andrew ;  and  St.  Bernardino  of  Siena ;  to  the 
right  St.  Peter  with  the  keys ;  St.  Peter  Martyr 


i8o  Florence. 

with  his  wounded  head  ;  St.  Paul  with  the  sword 
(observe  the  type)  ;  and  a  bearded  St.  Dominic, 
with  his  red  star  and  lily.  In  the  gable  ends 
or  aispidi  are  three  saints  by  Don  Lorenzo 
Monaco,  who  can  usually  be  recognised  by  the 
extreme  length  and  curious  bend  of  his  figures. 
(See  him  better  at  the  Uffizi.)  On  the  left  are 
Christ  and  the  Magdalen  in  the  garden  ;  in  the 
centre,  the  Resurrection  ;  on  the  right,  the  three 
Maries  at  the  tomb.  Compare  with  the  An- 
nunciation just  to  the  right  on  the  wall,  by  the 
same  painter. 

Now  begin  at  the  left  wall  by  the  door. 
These  pictures  represent  the  earliest  art  of 
Tuscany,  and  are  mostly  altar-pieces. 

High  up  is  a  curious  "  Byzantine  "  (say  rather, 
barbaric)  figure  of  St.  Mary  Magdalen,  as  the 
Penitent  in  Provence  (see  Mrs.  Jameson).  As 
always  in  this  subject,  she  is  clad  entirely  in 
her  own  hair,  which  the  modesty  of  the  early 
Christian  artist  has  represented  as  covering  her 
from  head  to  foot  like  a  robe.  It  is  here  rather 
red  than  golden.  She  holds  a  scroll  with  the 
rhyming  Latin  inscription,  — 

Ne  desperetis,  vos  qui  peccare  soletis, 
Exemploque  meo  vos  reparate  Deo : 


The  Tuscan  Galleries.  i8i 

that  is  to  say  :  "  Despair  not  ye  who  are  wont 
to  sin,  and  by  my  example  make  your  peace 
with  God."  At  its  sides  are  eight  small  stories 
from  the  life  of  the  saint,  biblical  and  legend- 
ary. Beginning  at  the  top,  on  the  left  is  the 
Magdalen  washing  the  feet  of  Christ ;  the  canopy 
represents  a  house ;  the  tower  shows  that  it 
takes  place  in  a  city  ;  on  the  right,  the  Resur- 
rection of  Lazarus,  represented  (as  in  all  early 
pictures)  as  a  mummy ;  note  the  tower,  and  the 
bystanders  holding  their  noses.  In  the  second 
tier  :  on  the  left  are  Christ  and  the  Magdalen 
in  the  garden  ;  on  the  right,  she  goes  to  Mar- 
seilles, with  Martha  and  St.  Maximin,  and  con- 
verts the  people  of  that  city,  which  observe  in  the 
background.  In  the  third  tier :  on  the  left,  she 
takes  refuge  as  a  penitent,  now  clad  only  in 
her  luxuriant  hair,  in  the  Sainte  Baume  (a  holy 
cave  in  Provence),  where  she  is  daily  raised  to 
see  the  Beatific  Vision  by  four  angels.  (Look 
out  for  later  representations  of  this  subject, 
often  improperly  described  as  the  Assumption 
of  the  Magdalen.)  On  the  right,  the  Magdalen, 
at  the  mouth  of  the  cave,  has  the  holy  wafer 
brought  her  by  an  angel.  In  the  fourth  tier : 
on  the  left,  St.  Maximin,  warned  by  an  angel 


1 82  Florence. 

that  the  Magdalen  is  dying,  brings  her  the  Holy 
Sacrament  to  her  cave ;  on  the  right,  he  buries 
the  Magdalen  at  Marseilles ;  canopy  and  tower 
again  representing  church  and  city. 

Beneath  this,  lOO,  is  a  similar  early  figure  of 
St.  John  in  the  desert,  with  his  own  head  in  a 
charger  before  him  :  ill  described  as  Byzantine. 

Number  loi  is  a  curious  barbaric  picture  of 
Madonna  and  saints,  with  scenes  from  the  life 
of  Christ :  brought  from  the  Franciscan  con- 
vent of  Santa  Chiara  at  Lucca.  The  saints  can 
be  sufficiently  identified  by  their  inscriptions. 
Compare  the  quaint  St.  Michael  with  Fra  Angel- 
ico's,  and  the  St.  Anthony  and  St.  Francis  with 
those  later  types  with  which  we  are  already 
familiar.  Never  forgot  that  these  rude  early 
works  form  the  basis  of  all  later  representations. 
Notice  Santa  Chiara,  to  whom  the  work  is  dedi- 
cated (see  Baedeker,  Assisi). 

Number  102,  a  Cimabue,  Madonna  and  angels, 
resembles  the  picture  in  Santa  Maria  Novella, 
but  with  a  considerable  variation  in  the  angelic 
figures,  here  rather  less  successful.  It  is,  I 
think,  an  earlier  picture.  Beneath  it  are  four 
prophets  in  an  arcade,  holding  scrolls  with  in- 
scriptions from  their  own  writings,  interpreted 


The  Tuscan   Galleries.  183 

by  mediaeval  theologians  as  prophecies  of  the 
Holy  Virgin. 

Next  it,  103,  is  a  similar  altar-piece  by  Giotto, 
with  same  central  subject,  where  the  difference 
of  treatment  and  the  advance  in  art  made  by 
the  great  painter  are  tolerably  conspicuous.  At 
the  same  time,  Giotto  is  never  by  any  means  so 
interesting  or  free  in  altar-pieces  as  in  fresco. 
The  best  figures  here  are  the  angels  in  the  fore- 
ground. The  details  of  both  these  pictures 
deserve  attentive  study  and  comparison. 

Then,  116,  Taddeo  Gaddi,  the  Entombment, 
with  the  risen  Christ  in  a  mandorla  above,  and 
angels  exhibiting  the  instrurnents  of  the  Passion. 
The  attendant  St.  John  and  other  figures  in  this 
fine  work  should  be  compared  with  the  corre- 
sponding personages  in  Fra  Angelico's  Descent 
from  the  Cross.  They  serve  to  show  how  much 
the  Friar  of  San  Marco  borrowed  from  his  pred- 
ecessors, and  how  far  he  transformed  the  con- 
ceptions he  took  from  them.  This  is  one  of 
the  best  altar-pieces  of  the  school  of  Giotto. 
Do  not  hurry  away  from  it.  The  OSM  stands 
for  Or  San  Michele,  from  which  church  the 
picture  comes. 

Number  127  is  an  Agnolo  Gaddi,  Madonna 


184  Florence. 

and  Child,  with  six  Florentine  saints.  Note  the 
dates  and  succession  in  time  of  all  these  painters. 
Compare  the  central  panel  with  the  Giotto  close 
by  to  show  its  ancestry.  The  other  saints  are 
St.  Pancratius  (from  whose  church  and  high 
altar  it  comes) ;  St.  Nerius  ;  St.  John  the  Evan- 
gelist ;  St.  John  the  Baptist ;  St.  Achileus ;  and 
Santa  Reparata  of  Florence.  For  these  very 
old  Roman  saints,  little  known  in  Florence  save 
at  this  ancient  church,  consult  Mrs.  Jameson. 
Omit  the  predella  for  the  moment. 

Beneath  these  pictures  is  a  set  of  panels, 
attributed  to  Giotto,  and  representing  scenes  in 
the  life  of  Christ.  They  originally  formed  part 
of  a  chest  or  cupboard  in  the  sacristy  of  the 
church  of  Santa  Croce  in  Florence,  as  the  very 
similar  series  by  Duccio  still  do  at  Siena  ;  (if  you 
go  to  Siena,  you  should  compare  the  two). 
Though  not  important  works,  they  deserve  study 
from  the  point  of  view  of  development.  Note, 
for  example,  in  the  first  of  the  series,  the  Visi- 
tation, the  relative  positions  of  the  Madonna 
and  St.  Elizabeth,  and  the  arch  in  the  back- 
ground —  an  accessory  which  afterward  be- 
comes of  such  importance  in  the  Pacchiarotto 
in  an  adjacent  room,  and  in  the  Mariotto  Alber- 


GIOTTO.  —  ADORATION    OF    THE    MAGI. 


The  Tuscan  Galleries.  185 

tinelli  in  the  Uffizi.  Observe,  similarly,  the 
quaint  Giottesque  shepherds  in  the  second  of 
the  series :  their  head-dress  is  characteristic ; 
you  will  meet  it  in  many  Giottos.  The  Magi, 
with  their  one  horse  each,  may  be  well  com- 
pared with  the  accession  of  wealth  in  Gentile 
da  Fabriano ;  while  the  position  of  the  elder 
king  and  the  crown  of  the  second  are  worth 
notice  for  comparison.  Observe  how  almost 
invariably  the  eldest  king  has  removed  his 
crown  and  presented  his  gift  at  the  moment  of 
the  action.  Earlier  works  are  always  simpler 
in  their  motives :  never  forget  this  principle. 
Not  less  characteristic  is  the  Presentation  in  the 
Temple,  with  fire  in  the  altar,  where  the  figures 
of  St.  Joseph,  on  the  right,  and  St.  Simeon,  on 
the  left,  are  extremely  typical.  The  Baptism 
has  the  unusual  feature  of  the  Baptist  and  the 
angels  on  the  same  bank,  while  a  second  figure 
waits  beyond  with  the  towel.  The  Transfigura- 
tion prepares  you  for  Fra  Angelico's  in  St. 
Marco.  The  Last  Supper,  with  Judas  leaving 
the  table,  is  an  interesting  variant.  The  Resur- 
rection shows  most  of  the  conventional  features. 
The  Doubting  Thomas  also  sheds  light  on  sub- 
sequent treatments. 


1 86  Florence. 

Compare  these  works  with  those  in  the  pre- 
della  of  the  Agnolo  Gaddi,  where  the  story  of 
Joachim  and  Anna,  with  which  you  are  now,  I 
hope,  famihar,  is  similarly  related.  Joachim 
expelled  from  the  Temple,  with  the  angel  an- 
nouncing to  him  the  future  birth  of  the  Virgin, 
ought  by  this  time  to  be  a  transparent  scene. 
In  the  Meeting  at  the  Golden  Gate  you  will 
recognise  the  angel  who  brings  together  the 
heads  of  wife  and  husband,  as  in  the  lunette  at 
Santa  Maria  Novella.  The  Birth  of  the  Virgin 
has,  in  a  very  simple  form,  all  the  characteristic 
elements  of  this  picture.  So  has  the  Presenta- 
tion in  the  Temple,  with  its  flight  of  steps  and 
its  symbolical  building.  Most  interesting  of  all 
is  the  Annunciation,  which  should  be  closely 
compared  with  similar  representations. 

Beneath  this  Agnolo  Gaddi,  again,  is  a  small 
series,  also  attributed  to  Giotto,  of  the  life  of 
St.  Francis.  The  scenes  are  the  conventional 
ones :  compare  with  Santa  Croce  :  St.  Francis 
divesting  himself  of  his  clothes  and  worldly 
goods  to  become  the  spouse  of  poverty :  St. 
Peter  shows  Innocent  III.  in  a  dream  the  falling 
church  (St.  John  Lateran  at  Rome)  sustained 
by  St.  Francis :  The  Confirmation  of  the  Rules 


The  Tuscan    Galleries.  187 

of  the  Order.  St.  Francis  appears  in  a  chariot 
of  fire  (121).  He  descends  to  be  present  at 
the  martyrdom  of  Franciscan  brothers  at  Ceuta, 
etc.  The  scene  of  St.  Francis  receiving  the 
Stigmata  is  closely  similar  (with  its  six-winged 
seraph  and  its  two  little  churches)  to  the  great 
altar-piece  from  San  Francesco  at  Pisa,  now 
preserved  in  the  Louvre.  Note  its  arrangement. 
Next  it  on  the  left,  St.  Francis  appearing  at 
Aries  while  St.  Anthony  of  Padua  is  preaching, 
recalls  the  fresco  in  Santa  Croce.  Indeed,  all 
the  members  of  this  little  series  may  be  very 
well  collated  with  the  frescoes  of  similar  scenes 
in  the  Bardi  Chapel.  (Go  also  to  Santa  Trinita 
for  the  Ghirlandajos.) 

On  the  end  wall,  129,  is  an  altar-piece  of  the 
Coronation  of  the  Virgin,  with  attendant  saints. 
All  are  named  on  the  frame ;  so  are  the 
painters.  Observe  the  saints  and  their  symbols 
—  especially  Santa  Felicita,  for  whose  convent 
it  was  painted.  Notice  also  the  usual  group  of 
angels  playing  musical  instruments,  who  de- 
velop later  into  such  beautiful  accessories.  It 
may  be  worth  while  to  note  that  these  early 
altar-pieces  give  types  for  the  faces  of  the 
apostles  and  saints  which  can  afterward  be  em- 


1 88  Florence. 

ployed  to  elucidate  works  of  the  Renaissance, 
especially  Last  Suppers.  Left  panel,  Spinello : 
centre,  Lorenzo  :  right,  Niccolo. 

To  the  right  of  the  door  are  two  stories  from 
the  life  of  St.  Nicholas  of  Bari.  In  the  upper 
one,  he  appears  in  the  sky  to  resuscitate  a  dead 
child,  where  the  double  figure,  dead  and  living, 
is  characteristic.  For  the  legends  in  full  you 
must  see  Mrs.  Jameson. 

In  134,  the  Presentation  in  the  Temple,  by 
Ambrogio  Lorenzetti  (one  of  the  best  of  the 
early  School  of  Siena),  note  the  positions  of 
St.  John  and  the  Madonna,  St.  Simeon  and  St. 
Anne,  whose  names  are  legibly  inscribed  on 
their  haloes.  Observe  also  the  architecture  of 
the  temple,  and  note  that  in  early  pictures 
churches  and  other  buildings  are  represented  as 
interiors  by  the  simple  device  of  removing  one 
side,  exactly  as  in  a  doll's  house. 

All  the  early  altar-pieces  on  this  wall  deserve 
attention.  Do  not  omit  St.  Nicholas  of  Bari 
throwing  the  three  purses  as  a  dowry  into  the 
window  of  the  poor  nobleman  with  three  starv- 
ing daughters.  One  is  already  thrown  and  being 
presented  :  the  saint  is  holding  the  other  two. 
St.    Nicholas  was    the   patron    saint    of   pawn- 


LORENZETTI.  —  PRESENTATION  IN  THE  TEMPLE. 


The  Tuscan   Galleries.  189 

brokers  (they  "freely  lend  to  all  the  poor  who 
leave  a  pledge  behind  "),  hence  his  three  golden 
balls  are  the  badge  of  that  trade. 

Number  137  represents  the  Annunciation, 
with  saints,  among  whom  St.  John  of  Florence 
and  St.  Dominic  are  conspicuous.  All  are 
named  on  the  frame,  and  should  be  separately 
identified.  The  wall  behind  the  Madonna  and 
angel,  the  curtain,  and  the  bedroom  in  the 
background,  are  all  conventional.  Notice  the 
frequent  peacocks'  wings  given  to  Gabriel. 
Observe,  in  the  predella.  Pope  Gregory  the 
Great,  with  the  dove  whispering  at  his  ear  as 
always.  I  do  not  particularise  in  these  altar- 
pieces,  because,  as  a  rule,  the  names  of  the 
saints  are  marked,  and  all  you  require  is  the 
time  to  study  them.  The  longer  you  look, 
the  better  will  you  understand  Italian  art  in 
general. 

The  next  picture,  139,  shows  itself  doubly  to 
be  a  Franciscan  and  a  Florentine  picture.  It 
has  the  Medici  saint,  St.  Lawrence,  beside  the 
Florentine  St.  John  the  Baptist  ;  while  on  the 
other  side  stand  St,  Francis  and  St.  Stephen, 
the  latter,  as  often,  with  the  stones  of  his  mar- 
tyrdom on  his  head,  and  in  the  rich  dress  of  a 


190  Florence. 

deacon.  The  donor  was  probably  a  Catherine, 
because  (though  it  was  painted  for  a  Francis- 
can convent  of  Santa  Chiara,  as  the  inscription 
states)  at  the  Madonna's  side  stand  St.  Catherine 
of  Siena,  the  Dominican  nun,  and  St.  Catherine 
of  Alexandria,  the  princess,  with  her  wheel.  In 
the  predella,  observe  the  Adoration  of  the  Magi, 
where  attitudes,  camels,  and  other  details,  lead 
up  in  many  ways  to  later  treatments. 

Number  140  is  a  characteristic  Holy  Trinity, 
with  St.  Romuald  the  Abbot  and  St.  Andrew  the 
Apostle.  The  chief  subject  of  the  predella  is 
the  Temptation  of  St.  Anthony.  In  another 
predella,  below  it,  notice  the  Presentation  of  the 
Virgin  in  the  Temple  and  the  Marriage  of  the 
Virgin,  all  the  elements  in  which  should  be 
closely  compared  with  the  frescoes  at  Santa 
Croce. 

Number  143  is  an  Annunciation,  by  Don 
Lorenzo  Monaco,  where  the  floating  angel,  just 
alighting  on  his  errand,  and  the  shrinking 
Madonna,  represent  an  alternative  treatment  of 
the  subject  from  that  in  Neri  di  Bicci.  Look 
out  m  future  for  these  floating  Gabriels.  Note 
that  while  no  marked  division  here  exists  be- 
tween Gabriel  and  Our  Lady,  the  two  figures 


"H^ 


The  Tuscan   Galleries.  191 

are  yet  isolated  in  separate  compartments  of  the 
tabernacle.  The  saints  are  named.  St.  Proculus 
shows  this  work  to  have  been  probably  painted 
for  a  citizen  of  Bologna,  of  which  town  he  is 
patron,  though  it  comes  here  direct  from  the 
Badia  in  Florence. 

Number  147  introduces  us  to  a  different  world. 
It  was  usual  in  mediaeval  Florence  to  give  a  bride 
a  chest  to  hold  her  trousseau,  and  the  fronts  of 
such  chests  were  often  painted.  This  example 
represents  a  marriage  between  the  Adimari  and 
Ricasoli  families,  and  is  interesting  from  the 
point  of  view  of  costume  and  fashion.  The 
loggia  is  that  of  the  Adimari  family. 

The  Neri  di  Bicci,  148,  uninteresting  as  art, 
has  curious  types  of  St.  Mary  Magdalen,  St. 
Margaret,  St.  Agnes,  and  St.  Catherine,  each 
with  her  symbol.  These  insipid  saints  have 
little  but  their  symbolical  significance  to  rec- 
ommend them  ;  yet  they  deserve  attention  as 
leading  up  to  later  representations. 

On  the  window  wall,  notice  155,  a  picture 
which  seems  to  lead  up  to  or  reflect  the  manner 
of  Botticelh. 

Near  the  door,  164,  a  Luca  Signorelli  is  not 
a  pleasing  example  of  the  great  master.     The 


1 92  Florence. 

Archangel  St.  Michael,  weighing  souls,  and 
Gabriel  bearing  the  lily  of  the  Annunciation, 
are  the  best  elements.  The  Child  is  also  well 
painted,  and  the  faces  of  St.  Ambrose  and  St. 
Athanasius  below  are  full  of  character. 

The  next  room,  the  Sala  Seconda,  is  chiefly 
interesting  as  containing,  on  an  easel  in  the 
centre,  **  Ghirlandajo's  magnificent  Adoration 
of  the  Shepherds.  In  its  wealth  of  detail  and 
allusiveness,  its  classical  touches  and  architec- 
ture, its  triumphal  arch,  its  sarcophagus,  etc., 
this  is  a  typical  Renaissance  work.  As  com- 
monly happens  with  Ghirlandajo,  the  shepherds 
are  clearly  portraits,  and  admirable  portraits,  of 
contemporary  Florentines.  Notice  the  beautiful 
iris  on  the  right  representing  the  Florentine  lily, 
also  the  goldfinch,  close  to  the  Divine  Child,  and 
Joseph's  saddle  to  the  left.  The  distance  repre- 
sents the  Approach  of  the  Magi,  and  may  be  well 
compared  with  the  Gentile  da  Fabriano.  Note 
how  the  Oriental  character  of  the  head-dress 
survives.  The  landscape,  though  a  little  hard, 
is  fine  and  realistic.  The  contrast  between  the 
ruined  temple  and  the  rough  shed  built  over  it 
is  very  graphic.  Not  a  detail  of  the  technique 
should  be  left  unnoticed.     Observe,  for  example, 


The  Tuscan  Galleries.  193 

the  exquisite  painting  of  the  kneeling  shepherd's 
woollen  cap,  and  the  straws  and  thatch  through- 
out the  picture.  The  Madonna  is  characteristic 
of  the  Florentine  ideal  of  Ghirlandajo's  period. 
The  ox  and  ass,  on  the  other  hand,  are  a  little 
unworthy  of  so  great  an  artist. 

On  the  walls  of  this  room  are  pictures,  mostly 
of  secondary  interest,  belonging  to  the  age  of 
the  High  Renaissance.  To  the  right  of  the 
door  are  a  series  of  good  heads  by  Fra  Bar- 
tolommeo,  the  best  of  which  is  that  of  St. 
Dominic,  with  his  finger  to  his  lips,  to  enforce 
the  Dominican  rule  of  silence. 

Above  them,  a  fine  Madonna  and  Child  by 
Mariotto  Albertinelli,  where  the  figures  of  St. 
Dominic  with  his  lily,  St.  Nicholas  of  Bari  with 
his  three  golden  balls,  and  the  ascetic  St.  Jerome 
with  his  cardinal's  hat  and  lion,  will  now  be  fa- 
miliar. But  the  finest  figure  is  that  with  a  sword, 
to  the  left,  representing  St.  Julian,  the  patron  .  \  "''■-'=' 
saint  of  Rimini.  The  flyaway  little  angels  and  '^^  ^^^^■'^\  - 
the  unhappy  canopy  foreshadow  the  decadence,     i^c-^^*""*^ 

Better  far  is  Mariotto's  Annunciation,  adja- 
cent, where  the  addition  of  the  heavenly  choir 
above  is  a  novel  feature.  The  shrinking  position 
of  the  Madonna  may  well  be  compared  with  the 


1 94  Florence. 

earlier  specimens,  and  with  the  beautiful  Andrea 
del  Sarto  in  the  Uffizi, 

Beyond,  171  and  173,  are  two  Madonnas  by 
Fra  Bartolommeo,  which  may  be  taken  as  typical 
specimens  of  his  style  in  fresco.  Compare  with 
the  heads  to  the  left  in  order  to  form  your  con- 
ception of  this  great  but  ill-advised  painter,  who 
led  the  way  to  so  much  of  the  decadence. 

Between  them  is  172,  also  by  Fra  Bartolom- 
meo :  Savonarola  in  the  character  of  St.  Peter 
Martyr,  a  forcible  but  singularly  unpleasant 
portrait. 

Above  it,  1 70,  Fra  Paolino,  Madonna  and  Child 
with  saints,  is  interesting  as  showing  the  group- 
ing that  came  in  with  the  High  Renaissance,  and 
the  transformation  effected  in  the  character  of 
the  symbols.  These  canopied  thrones  belong 
to  the  age  of  Fra  Bartolommeo.  The  Magdalen 
can  only  be  known  by  her  box  of  ointment.  St. 
Catherine  of  Siena,  to  whom  the  infant  Christ 
extends  a  hand,  seems  to  be  painted  just  for  the 
sake  of  her  drapery.  St.  Dominic  with  his  lily 
becomes  an  insipid  monk,  and  even  the  ascetic 
face  of  St.  Bernardino  of  Siena  almost  loses  its 
distinctive  beauty.  The  attitude  of  St.  Anthony 
of  Padua,  pointing  with  his  hand  in  order  to  call 


The  Tuscan   Galleries.  195 

St.  Catherine's  attention  to  what  is  happening, 
as  though  she  were  likely  to  overlook  it,  is  in  the 
vilest  taste.  Altogether,  a  sad  falling  off  from 
the  purity  and  spirituality  of  the  three  great 
rooms  of  Botticelli  and  Perugino.  This  picture 
comes  from  the  convent  of  Santa  Caterina  in 
Florence. 

Number  174,  the  Madonna  letting  drop  the 
Sacra  Cintola  to  St.  Thomas,  is  a  far  more 
pleasing  specimen  of  Fra  Paolino.  The  kneel- 
ing Thomas  has  dignity  and  beauty,  and  is  not 
entirely  painted  for  the  sake  of  his  feet.  St. 
Francis  is  a  sufficiently  commonplace  monk, 
but  St.  John  the  Baptist  has  not  wholly  lost  his 
earlier  beauty.  The  tomb  full  of  lilies  is  pleas- 
ingly rendered,  and  the  figures  of  St.  Ehzabeth 
of  Hungary  (or  is  it  St.  Rose .-')  and  St.  Ursula 
with  her  arrow  behind  have  simplicity  and  dig- 
nity. This  is  of  course  a  Franciscan  picture : 
it  comes  from  the  convent  of  St.  Ursula  in 
Florence.  The  little  frieze  of  saints  by  Michele 
Ghirlandajo,  beneath  it,  is  worthy  of  notice. 
The  second  of  the  series  is  Santa  Reparata. 

The  other  pictures  in  this  room  can,  I  think, 
be  sufficiently  interpreted  by  the  reader  in 
person. 


196  Florence. 

Number  177  is  by  Sogliani,  the  angel 
Raphael,  with  Tobias  and  the  fish.  As  the 
angel  carries  the  sacred  remedy,  this  was  prob- 
ably a  blindness  ex  voto.  To  the  left  is  St. 
Augustine. 

The  Pieta,  above,  by  Fra  Bartolommeo  and 
Fra  Paolino,  is  noticeable  for  its  Dominican 
saints.     You  will  know  them  by  this  time. 

A  second  group  of  the  Madonna  letting  drop 
her  girdle  to  St.  Thomas,  by  Sogliani,  may  be 
instructively  compared  with  Fra  Paolino. 

The  late  Renaissance  pictures  on  the  rest 
of  the  wall  need  little  comment.  The  Sala 
Terza  contains  works  of  the  sixteenth  and 
seventeenth  centuries,  mostly  as  unpleasant  as 
theatrical  gesture  and  false  taste  can  make 
them. 

Number  198,  Alessandro  AUori's  Annuncia- 
tion, while  preserving  many  of  the  traditional 
features,  is  yet  a  noble  and  valuable  monument 
of  absolute  vulgarity.  The  flyaway  Gabriel, 
with  coarsely  painted  lily,  the  cloud  on  which 
he  rests  in  defiance  of  gravitation,  the  cherubs 
behind,  the  third-rate  actress  who  represents 
Our  Lady,  the  roses  on  the  floor,  and  the  atti- 
tudes of  the  hands  in  both  the  chief  characters, 


The  Tuscan  Galleries.  197 

are  as  vile  as  Allori  could  make  them.  But  the 
crowning  point  of  bad  taste  in  this  picture  is 
surely  the  eldest  of  the  boy-angels,  just  out  of 
school,  and  apparently  sprawling  in  ambush  on  a 
cloud  to  play  some  practical  joke  on  an  unseen 
person.  Comparison  of  this  hateful  Annuncia- 
tion with  the  purity  and  simplicity  of  Fra  An- 
gelico's  at  San  Marco  will  give  you  a  measure 
of  the  degradation  of  sacred  art  under  the  later 
Medici. 

Number  203,  Carlo  Dolci's  Eternal  Father, 
may  be  taken  as  in  another  way  a  splendid 
specimen  of  false  sentiment  and  bad  colouring. 

Number  205,  Cigoli's  St.  Francis,  admirably 
illustrates  the  attempt  on  the  part  of  an  artist 
who  does  not  feel  to  express  feeling. 

Most  of  these  pictures  deserve  some  notice 
because,  as  foils  to  the  earlier  works,  they  ex- 
cellently exhibit  the  chief  faults  to  be  avoided 
in  painting.  Sit  in  front  of  them,  and  then  look 
through  the  open  door  at  the  great  Ghirlandajo, 
if  you  wish  to  measure  the  distance  that  sepa- 
rates the  fifteenth  from  the  later  sixteenth  and 
seventeenth  centuries.  Cigoli's  Martyrdom  of 
Stephen,  however,  has  rather  more  merit  both 
in  drawing  and  colouring ;  and  one  or  two  of 


if)8  Florence. 

the  other  pictures  in  the  room  just  serve  to  re- 
deem it  from  utter  nothingness.  Such  as  they 
are,  the  reader  will  now  be  able  to  understand 
them  for  himself  without  further  description. 


CHAPTER  XIII. 

THE    HALL    OF    FRA    ANGELICO. 

RETURN  through  the  Cupola  and  the  first 
part  of  the  Corridor  to  the  room  on  the 
left,  the  Sala  del  Beato  Angelico.  This  room 
contains  numerous  smaller  works  of  Fra  An- 
gelico and  his  contemporaries. 

Left  of  the  door,  227,  is  a  Fra  Angelico, 
Madonna  and  Child  enthroned,  under  a  niche, 
with  Franciscan  and  Medici  saints  on  either 
side.  This  work  is  interesting  for  the  transi- 
tional stage  it  shows  in  the  development  of 
these  Madonna  pictures.  The  saints  are  now 
grouped  in  a  comparatively  natural  manner,  but 
the  arches  behind  them  show  reminiscences  of 
the  earlier  tabernacle  and  altar-piece  arrange- 
ment. On  the  left  of  the  throne,  on  a  raised 
marble  dais,  a  step  below  the  level  of  Our  Lady, 
stand  the  Medici  saints,  Cosimo  and  Damian,  in 
their  red  deacons'  robes,  with  their  boxes  of 
199 


200  Florence. 

ointment  and  palms  of  martyrdom  (note  here  as 
always  that  the  most  important  saints  for  the 
purpose  of  the  picture  are  to  the  Madonna's 
right,  and  the  spectator's  left).  On  the  opposite 
side,  balancing  them,  and  equally  raised  on  the 
dais,  are  St.  John  the  Evangelist  and  St. 
Lawrence  with  his  deacon's  robe  and  palm  of 
martyrdom.  Below,  on  the  ground,  stand  the 
Dominican  St.  Peter  Martyr,  with  his  wounded 
head,  and  the  Franciscan  St.  Francis,  with  the 
Stigmata,  in  the  robes  of  their  orders.  Observe 
that  the  later  historical  saints  stand  on  a  lower 
level  than  their  legendary  predecessors.  The 
face  and  dress  of  the  Madonna,  the  stiff  draped 
Giottesque  child,  the  star  on  Our  Lady's 
shoulder,  and  many  other  accessories  deserve 
close  study.  This  picture  is  one  which  marks 
time  in  the  progress  of  painting.  Compare  the 
arrangement  of  saints  here  with  the  Giottesque 
altar-pieces  just  outside,  and  then  with  the 
quite  naturalistic  arrangements  in  the  three 
rooms  of  the  great  fifteenth  century  painters. 

Left  of  these  works  begins  a  series  by  Fra 
Angelico  of  the  Life  of  Christ,  —  small  panel 
pictures  (from  the  doors  of  a  press  in  the 
Annunziata),  some    of   them    of    comparatively 


The  Hall  of  Fra  Angellco.        201 

little  artistic  merit,  but  all  interesting  from  the 
point  of  view  of  development.  (The  first  three, 
as  they  stand,  do  not  seem  to  me  to  be  Fra 
Angelico's  at  all.)  Notice  particularly  the  scene 
of  the  Baptism,  for  comparison  with  the  Ver- 
rocchio  in  an  adjoining  room.  The  position  of 
the  Baptist  and  the  small  symbolical  Jordan 
are  highly  typical.  Verses  from  the  Vulgate 
beneath  explain  the  subjects.  Above  are  proph- 
ecies from  the  Old  Testament,  supposed  to 
foreshadow  the  events  here  pictured.  In  234, 
an  Annunciation,  with  its  loggia  and  garden 
background,  is  very  noteworthy.  Here,  only  a 
doorway  separates  the  Madonna  from  the  an- 
nouncing angel.  The  Adoration  of  the  Magi  in 
the  same  set  may  be  well  compared  with  Gentile 
da  Fabriano.  The  Massacre  of  the  Innocents, 
on  the  other  hand,  shows  Fra  Angelico's  marked 
inability  to  deal  with  dramatic  action,  and  espe- 
cially with  scenes  of  cruelty.  In  the  Sacred 
Wheel,  in  235,  observe  the  curious  figures  of 
the  four  Evangelists,  at  the  cardinal  points  of 
the  centre,  each  with  human  body,  but  with  the 
head  of  his  beast  as  a  symbol.  The  whole  of 
this  mystic  wheel,  explained  by  its  inscriptions, 
deserves    close    attention.      The    Circumcision 


202  Florence. 

and  the  *  Flight  into  Egypt  below  are  entirely 
conventional.  Note  the  inefficient  drawing  of 
the  ass.  Compare  the  St.  Joseph  with  that 
in  the  upper  panel  of  236,  the  Nativity,  where 
the  type  of  this  saint  continually  repeated  by 
Fra  Angelico  will  become  apparent.  In  237, 
**  Judas  Receiving  the  Money  is  especially 
spirited  :  the  dramatic  element  is  rare  in  Fra 
Angelico.  The  Last  Supper,  close  by,  is  note- 
worthy as  a  historical  delineation,  for  compari- 
son with  the  mystical  one  on  the  walls  of  San 
Marco.  The  scenes  of  the  Buffeting  and  the 
Flagellation  again  exhibit  Fra  Angelico's  limita- 
tions. I  advise  attentive  study  of  all  these  little 
works,  many  of  which  are  of  high  merit :  make 
careful  comparisons  with  the  same  subjects  in 
the  Giottos  and  elsewhere. 

Number  243,  also  by  Fra  Angelico,  contains  a 
graphic  account  of  the  **  history  of  St.  Cosimo 
and  St.  Damian,  the  holy  physicians  who  despised 
money,  and  who  in  the  lower  left  hand  compart- 
ment are  represented  as  declining  the  heavy 
fees  proffered  by  a  wealthy  woman.  (Or  rather, 
St.  Cosimo  refuses,  and  St.  Damian  accepts,  be- 
cause the  lady  asks  him  to  take  it  in  the  name 
of  the  Lord.)     The  other   subjects   relate  the 


The   Hall  of  Fra  Angelico.        203 

trial  of  the  two  saints,  with  their  three  younger 
brethren,  and  the  attem])ts  successively  made  to 
drown  them,  from  which  death  they  are  saved 
by  angels ;  to  burn  them  alive,  when  the  flames 
seize    upon    their    persecutors ;    to   crucify  and 
stone  them,  when  the  stones  recoil  on  the  heads 
of  the   senders  and  the  arrows  bend  round  to 
strike  the  assailants  ;  and  finally  the  last  suc- 
cessful effort  to  behead  them  —  a  punishment 
which  no  saint  except  St.  Denis  ever  survives,        1    ^^     ^ 
This  is  a  very  miraculous  story,  delineated  with         ^.*r-^*^^]„o<^ 
perfect  faith  and  naivete,  in  a  series  of  exquisite  .,.j!^->-~  ^^t)>-^^ 
miniatures,  far  superior  in  execution  to  the  Life  o>      i 
of    Christ.       They    formed    a  gradino    at    the 
Annunziata.       Observe    the    complete    mediae- 
valism  of  the  details,  untouched  as  yet  by  the 
slightest  Renaissance  tendency.      The   Roman 
official  who  condemns   them  is  dressed  like   a 
Florentine  gentleman  of  the  period ;  there  is  no 
archaeology. 

Above,  241  and  242,  are  two  good  portraits 
of  Vallombrosan  monks  by  Perugino,  who  was 
largely  employed  in  commissions  for  that  mon- 
astery, and  who  painted  for  it  his  magnificent 
Assumption.  The  figures  are  those  of  the 
General  of  the  Order,  and  of  the  Abbot  of  the 


204  Florence. 

monastery ;  and  they  stood  originally  at  the 
side  of  the  Assumption,  looking  up  at  the 
Virgin  —  whence  their  attitudes. 

Still  higher  is  a  Madonna  and  Child,  by  Fra 
Angelico,  exhibiting  advance  in  freedom  of  treat- 
ment over  the  more  Giottesque  model  in  227. 
Compare  these  carefully. 

Number  249,  etc.,  other  little  panels  by  Fra 
Angelico,  contain  a  Pieta,  Adoration  of  the 
Magi,  etc,  with  scenes  in  the  background. 

Beyond  these,  on  the  left,  is  a  continuation  of 
the  Life  of  Christ.  In  the  Raising  of  Lazarus, 
note  the  curious  swathing  of  the  mummy-like 
figure,  which  earlier  still  was  represented  as  an 
actual  mummy.  The  Entry  into  Jerusalem  con- 
tains some  excellent  characters.  The  Washing 
of  the  Apostles*  feet  betrays  Fra  Angelico' s 
lack  of  accurate  knowledge  in  perspective  and 
foreshortening.  The  Last  Supper  has  points 
of  resemblance  with  the  mystic  treatment  in 
San  Marco.  In  Christ  before  Pilate,  notice 
once  more  the  pure  mediaevalism  of  the  treat- 
ment, as  contrasted  with  such  Roman  and  anti- 
quarian touches  as  are  given  to  similar  scenes 
by  Ghirlandajo  and  Filippino  Lippi.  The  Jew- 
ish faces  of  the  priests  are  admirably  rendered. 


FRA    ANGELICO.  —  WAY     lO    CALVARY. 


The  Hall  of  Fra  Angellco.        205 

The  Betrayal  of  Christ  has  the  usual  episode 
of  Peter  cutting  off  the  ear  of  Malchus. 

In  the  next  group,  253,  note  the  scorpion 
tabards  of  the  soldiers  on  the  Way  to  Calvary, 
and  the  parting  of  the  raiment.  Beneath  it, 
Christ  in  Limbo  delivers  Adam  and  Eve  and 
the  holy  dead,  among  whom  King  David  is 
conspicuous.  Observe  the  red  cross  of  the 
banner,  universal  in  this  subject,  the  usual 
demon  crushed  under  the  gate,  and  the  others 
baffled  in  the  left  background.  The  Last 
Judgment  beneath  it,  is  interesting  for  com- 
parison with  the  larger  tabernacle  on  the  end 
wall  of  this  room.  Observe  the  attitude  of 
Christ,  displaying  His  wounded  hands  in  mercy, 
as  in  most  representations  of  this  subject,  from 
the  frescoes  in  the  Campo  Santo  at  Pisa  onward. 
(Compare  the  fine  Fra  Bartolommeo  and  Mari- 
otto  Albertinelli  in  the  Hospital  of  Santa  Maria 
Nuova.  A  study  of  this  subject,  beginning  at 
Pisa,  and  culminating  in  the  Sistine  Chapel,  is 
most  interesting.)  Note  the  Madonna,  apostles, 
and  patriarchs,  surrounding  the  Christ,  and  the 
sweet  little  angels  below  embracing  the  just, 
among  whom  a  Dominican  figure  is  conspicuous. 
The  damned,  to  the  left  of  the  Saviour,  display 


io6  Florence. 

Fra  Angelico's  usual  inability  to  deal  with  what 
is  not  ecstatic  and  beautiful. 

The  last  set  of  the  series,  containing  the 
Passion,  Ascension,  etc.,  is  interesting  (amongst 
other  things)  for  its  Descent  of  the  Holy  Ghost, 
with  the  various  nations  below  hearing  the  apos- 
tles speak  with  tongues,  which  may  be  well 
compared  with  the  fresco  in  the  Spanish  Chapel. 
Not  one  of  these  httle  scenes  is  without  interest 
from  the  point  of  view  of  comparative  treatment 
with  others  elsewhere.  Go  through  them  care- 
fully, and  note  the  prophetic  verses. 

On  the  same  wall,  247,  the  Dominican  painter 
has  also  represented  the  School  of  the  great 
Dominican  teacher,  St.  Thomas  Aquinas,  with 
the  three  discomfited  heretics  (Averrhoes,  Sa- 
bellius,  Guillaume  de  St.  Amour)  at  his  feet  as 
usual.  Compare  the  Benozzo  Gozzoli  in  the 
Louvre. 

Above  this,  246,  is  a  fine  Deposition,  with  a 
few  adoring  saints  who  do  not  belong  to  the 
subject.  Amongst  them,  to  the  left,  is  con- 
spicuous St.  Dominic.  This  picture  belonged 
to  a  religious  body  which  accompanied  con- 
demned criminals   to   the  scaffold. 

On  the  end  wall,  257,  are  two  stories  from 


The  Hall  of  Fra  Angelico.        207 

the  lives  of  St.  Cosimo  and  St,  Damian,  by  Fra 
Angelico.  They  fix  the  leg  of  a  dead  Moor  to 
a  sick  white  man,  on  whom  they  have  practised 
amputation.  Below,  their  burial  with  their  three 
brethren  :  in  the  background,  a  somewhat  imag- 
inative camel,  denoting  foreignness  and  orien- 
talism. 

The  dainty  little  Annunciation  by  Ghirlandajo, 
above,  should  be  noticed. 

Number  260  is  a  Simone  Bolognese,  an  ex- 
tremely rude  but  interesting  picture  of  the 
Nativity,  where  the  star,  the  attitude  of  the  ass, 
the  shepherd  hearing  the  angels,  and  the  very 
unreal  sheep  in  the  foreground  should  all  be 
noted.  The  wattles  and  saddle  are  characteris- 
tic of  the  subject. 

Above  it  is  a  charming  early  Tabernacle,  259, 
fourteenth  century,  with  the  Madonna  and  Child, 
which  may  be  well  compared  both  with  Giotto 
and  Fra  Angelico.  On  the  wings  above,  an 
Annunciation,  with  the  Madonna  and  angel  sep- 
arated as  usual :  notice  this  arrangement,  which 
often  recurs.  Beneath  is  a  Crucifixion  ;  with  St. 
John  the  Baptist,  St.  Catherine  and  other  saints. 
This  is  one  of  the  most  beautiful  tabernacles  of 
its  period  :  its  fine  work  should  be  observed. 


2o8  Florence. 

Number  266,  *  Fra  Angelico's  celebrated  Last 
Judgment,  may  be  well  compared  with  the  Or- 
cagna  in  Santa  Maria.     In  the  centre  above  is 
Christ   in   a  mandorla,  surrounded   by   adoring 
,,  fl,  '^^'^v     angels   whose    symbolical    colours    and   various 
,a,<>     vj!^  hierarchies    you    will    find    explained    by    Mrs. 
^"^   ^v'"' Jameson.     Beneath  are  the  angels  of  the  last 
\J>^       trump;    right    and    left    of    the    Saviour,    the 
^     >,o-'^\]!.>    Madonna  and  St.  John  the  Baptist ;  then,  the 
c^''^^^'\^'^"  apostles    and    patriarchs,    with    their    symbols, 
v^-^^    '  among  whom  may  be  noted  also   St.   Dominic 

on  the  extreme  left  and  St.  Francis  on  the  ex- 
treme right,  with  other  monastic  founders,  es- 
pecially of  Florentine  or  neighbouring  bodies 
(Vallombrosans,  Camaldolesi).  The  terrestrial 
scene  has  for  its  centre  a  vault  or  cemetery, 
with  open  empty  tombs  from  which  the  dead 
have  risen.  (See  also  at  Pisa.)  To  the  left 
(the  Saviour's  right  as  usual)  are  the  blessed 
risen,  welcomed  and  embraced  by  charming  little 
angels,  who  lead  them  onward  as  in  a  mazy 
dance  to  the  Heavenly  City.  The  robes  and 
orders  of  the  monks  should  be  observed,  as  also 
the  various  grades  of  popes,  bishops,  and  other 
ecclesiastical  functionaries.  Note  that  this  is 
essentially  a  representative  assemblage  of  the 


The  Hall  of  Fra  Angelico.        209 

Church  Triumphant,  in  which,  it  must  be  ad- 
mitted, the  lay  element  figures  but  sparingly. 
To  the  right,  the  damned  are  being  hurried  away 
to  hell  by  demons.  Among  them  are  not  only  the 
great  and  mighty  of  the  earth,  —  kings,  queens, 
etc.,  —  but  also  false  monks  who  loved  money 
better  than  their  profession,  as  typified  by  the 
bag  around  the  neck  of  one  in  the  foreground. 
Every  one  of  these  lost  souls  also  is  represen- 
tative. Note  the  bats'  faces  and  wings  of  the 
demons.  To  the  extreme  right  is  Hell,  divided 
into  the  usual  mediaeval  regions,  and  best  ex- 
plained by  reference  to  Dante.  (See  also  the 
Orcagna  at  Santa  Maria  Novella.)  The  per- 
sonal devil  devouring  souls  below  recalls  the 
figure  in  the  Campo  Santo  at  Pisa.  Do  not 
overlook  the  jaws  of  death. 

Every  detail  of  this  interesting  picture  should 
be  noted  and  carefully  studied.  Nothing  can  be 
lovelier  than  the  scene  of  angelic  peace  on  the 
right ;  few  things  uglier  than  the  opposite  tor- 
ments, attributed,  as  usual,  to  another  hand. 
The  picture  comes  from  the  monastery  degli 
Angeli  in  Florence,  whence  the  large  and 
charming  part  assigned  in  it   to  angels. 

Above  it,  in  265,  Madonna  and   Child  with 


2IO  '  Florence. 

saints,  by  Fra  Angelico,  compare  the  cupola 
and  niches,  from  the  point  of  view  of  evolution, 
with  those  of  the  large  picture  almost  opposite. 
To  the  left  is  a  group  of  Franciscan  saints, 
Anthony  of  Padua,  Louis  of  Toulouse,  and 
P'rancis  (it  comes  from  a  Franciscan  retreat  at 
Mugello).  To  the  right  are  the  Medici  saints, 
Cosimo  and  Damian,  and  St.  Peter  Martyr. 
The  child  is  here  nude,  a  rare  case  with  Fra 
Angelico.  Note  always  this  point,  and  observe 
its  early  occurrences. 

Close  by,  268  and  269,  two  little  panels  of 
the  sixteenth  century,  are  interesting  for  their 
treatment  of  the  Annunciation,  and  St.  Thomas 
Aquinas  and  St.  Dominic. 

On  the  left  wall,  272,  is  an  interesting  St. 
Elizabeth  of  Hungary,  sheltering  under  her 
mantle  her  votaries.  The  arrangement  of  the 
mantle  and  the  angels  who  sustain  it  should 
be  noted  as  characteristic  of  similar  subjects, 
common  elsewhere. 

By  the  window  wall  are  several  early  panel 
pieces,  the  most  interesting  of  which  is  277, 
with  St.  Francis  receiving  the  Stigmata,  where 
the  seraph,  saint,  Brother  Leo,  and  attendant 
buildings,  are  all  characteristic.     Compare  the 


The  Hall  of  Fra  Angelico.        211 

Giotto  in  another  room  in  this  building.  The 
St.  Paul  on  the  way  to  Damascus  is  a  less  usual 
subject,  interestingly  treated.  Note  that  the 
sword  has  not  been  forgotten. 

Number  2'jTy  another  St.  Francis  receiving 
the  Stigmata,  closely  resembles  the  picture  in 
the  Louvre  of  the  same  subject.  Compare  all 
the  examples  of  this  theme  in  the  present  gal- 
lery, noting  the  position  of  the  seraph-winged 
Christ,  the  buildings,  etc. 

Number  281  is  a  Fra  Angelico,  another 
Madonna  and  Child,  with  characteristic  angels. 
In  the  foreground,  with  its  singular  early  Ro- 
manesque mosaic  (which  should  be  carefully 
noted),  are  the  Medici  saints  kneeling.  To 
the  right  are  the  two  great  Dominicans,  St. 
Dominic  and  Peter  Martyr,  with  St.  Francis ; 
to  the  left,  St.  Lawrence,  St.  John  the  Baptist, 
St.  Stephen. 

This  is  a  fine  altar-piece,  though  greatly 
damaged.  Note  always  whether  the  Christ 
holds  a  globe,  a  goldfinch,  or  a  pomegranate. 

In  the  next  window,  a  series  of  stories  by 
Granacci  are  sufficiently  described  by  their 
labels,  but  worthy  of  all  attention. 

On  the  easel,  263,  is  a  Filippo  Lippi,  the  An- 


2  12  Florence. 

nunciation  (curiously  divided),  and  St.  John  the 
Baptist  of  Florence.  This  is  a  single  shutter, 
with  the  other  half  in  264,  where  St.  Antony 
balances  the  Baptist. 

In  291,  a  Trinity  of  the  fifteenth  century, 
notice,  in  the  predella,  the  arrangement  of 
the  arcade  in  the  Annunciation,  with  tlie 
garden  in  the  background  ;  right  and  left  an- 
gelic subjects ;  St.  Michael  and  the  Dragon,  St. 
Raphael  and  Tobias.  The  delicious  naivete  of 
the  last  is  worthy  of  attention. 

It  is  impossible  to  enter  in  detail  into  all  the 
works  in  this  small  room,  with  its  rich  collection 
of  early  panel  pictures.  The  visitor  should  re- 
turn to  them  again  and  again,  spelling  out  their 
further  meaning  for  himself  by  the  light  of  the 
hints  here  given,  or  the  official  catalogue.  But 
the  more  you  make  out  for  yourself,  the  better. 
Remember  that  every  figure  is  identifiable,  and 
that  each  in  every  case  has  then  and  there  its 
special  meaning.  Fully  to  understand  these, 
you  should  afterward  consult  either  the  cata- 
logue, or,  still  better,  the  description  of  the 
principal  pictures  in  Lafenestre's  "  Florence." 
Also,  I  cannot  too  strongly  recommend  that 
you  should  go  from  one  picture  of  a  subject  to 


FILIPPO    LIPPI.  —  ANNUNCIATION. 


The  Hall  of  Fra  Angelico.        213 

another  of  the  same  in  this  collection,  observing 
the  chronology  of  the  works,  and  the  evidences 
which  they  show  of  progress  in  art-evolution. 
As  a  single  example  of  what  I  mean,  take  the 
Annunciations  in  this  Gallery,  and  follow  them 
out  carefully.  Or  again,  look  at  the  group  of 
saints  on  either  side  of  the  Saviour  in  266. 
Note  here  on  the  left  the  white  starry  robe  of 
the  Madonna,  as  Queen  of  Heaven.  Next  her, 
St.  Peter  with  his  conventional  features,  and  his 
two  keys  of  gold  and  iron.  Then,  beside  him, 
Moses,  distinguishable  by  his  horns  of  light  and 
by  the  Hebrew  inscription  on  the  tablets  he 
carries.  In  the  opposite  group,  observe  simi- 
larly, in  the  place  of  honour,  St.  Paul  with  his 
sword,  close  beside  the  Baptist,  behind  whom 
stands  St.  Agnes  with  her  lamb,  and  next  to 
her.  King  David.  Above  St.  Dominic,  once 
more,  to  the  extreme  left  of  the  group,  the 
dove  whispering  at  his  ear  marks  the  figure  of 
St.  Gregory ;  close  by  whom  the  deacon  with 
the  palm  of  martyrdom  and  the  bleeding  head 
is  seen  to  be  St.  Stephen.  I  will  not  go 
through  the  whole  of  this  interesting  group, 
but  attentive  study  of  the  symbols  will  enable 
you  to  identify  every  one  of  them.     Do  not  be 


214  Florence. 

satisfied  with  your  study  of  the  picture  until 
you  arc  sure  that  you  have  understood  all  its 
details.  If  it  was  worth  Fra  Angelico's  while 
to  discriminate  them  by  signs,  it  is  surely  worth 
your  while  to  spend  a  few  seconds  each  over 
them.  A  useful  little  book  for  identifying 
saints,  which  also  gives  you  an  account  of  the 
robes  of  the  various  monastic  orders,  is  Miss 
^j^6>>  Greene's  "  Saints  and  Their  Symbols."  You 
'^*-*^     can    get    it   at    any    bookseller's    in    Florence. 

*^'"'^j>''^  ^,v»^*  You    cannot   do   better  than   test   this  picture 

^.^^  by  the  light  so  thrown  upon  it. 

Again,  in  254,  the  Entombment,  notice  the 
positions  of  the  Crown  of  Thorns  and  the  nails 
in  the  foreground,  upon  which  equal  stress  is 
laid  in  the  great  Descent  from  the  Cross  by  the 
same  painter,  which  stands  on  the  easel  beside 
Gentile  da  Fabriano's  Adoration  of  the  Magi. 
Recollect  in  this  connection  the  importance 
given  to  these  relics  from  the  thirteenth  cen- 
tury onward,  by  their  purchase  from  the 
Emperor  of  the  East  by  St.  Louis  of  France, 
who  had  erected  the  Sainte  Chapelle  on  purpose 
to  contain  them.  The  legend  of  their  preser- 
vation had  therefore  great  prominence  in  the 
thirteenth,  fourteenth,  and  early  fifteenth  cen- 


«f 


The  Hall  of  Fra  Angelico.        215 

turies,  and  it  was  important  that  illustrations 
of  the  subject  should  contain  some  reference 
to  the  mode  in  which  these  much-revered  relics 
were  saved  for  the  adoration  of  posterity.  I 
offer  this  hint  merely  to  show  the  way  in  which 
legend  and  doctrine  reacted  upon  art  in  the 
Middle  Ages.  Look  similiarly  for  the  nails  in 
the  Descent  from  the  Cross  by  Filippino  Lippi 
and  Perugino  in  the  second  Botticelli  Room, 
and  in  Botticelli's  Madonna,  8S,  in  the  same 
room,  where  an  angel  holds  them  as  well  as 
the  Crown  of  Thorns.  You  will  find  in  like 
manner  that  the  series  of  the  Life  of  Christ 
by  Fra  Angelico  in  this  room  has  in  each  case 
above  the  picture  a  prophecy  from  the  Old 
Testament,  and  below,  a  verse  supposed  to  be 
its  fulfilment  from  the  New.  The  more  you 
observe  these  facts  for  yourself,  the  better  will 
you  understand  both  the  details  introduced  into 
the  pictures  themselves  and  the  reason  for  their 
selection.  Mediaeval  art  embodies  a  dogmatic 
theology  and  a  theory  of  life  and  practice.  It 
can  never  be  fully  comprehended  without  some 
attention  to  these  facts  which  condition  it. 

Visit   the   Belle   Arti  often  :   it  contains,  on 
the   whole,    the    finest    pictures    in    Florence. 


2i6  Florence. 

When  you  have  got  beyond  these  notes,  go 
on  with  Lafenestre ;  or  else  buy  the  official 
catalogue,  which  is  in  very  easy  Italian ;  it 
gives  you  always  the  original  place  for  which 
the  pictures  were  painted.  Do  not  be  satisfied 
till  you  understand  them  all.  And  compare, 
as  you  go,  with  the  frescoes  in  churches  and 
the  works  in  the  Uffizi.  The  way  to  compre- 
hend early  art  is  by  comparison. 


END  OF  VOLUME  I. 


INDEX. 


Accademia  delle  Belle  Arti,  9, 
141-216. 
Early    Tuscan     works     in, 

143-151- 

Halls  of  Botticelli,  162-174. 

Hall  of  Fra  Angelico,  199- 
215. 

Hall  of  Perugino,  1 54-161. 

Tuscan  Galleries,  195-198. 
Agnolo    Gaddi    (see     Gaddi, 

Agnolo). 
Agostino  di  Duccio,  relief  of 

the  Madonna,  108. 
Alberti,     Leon     Battista,     4, 

fa9ade  of  Santa  Maria,  41- 

43- 

Albertinelli,  Mariotto  (see 
Mariotto  Albertinelli). 

Albizi,  Giovanna,  portrait  of, 
52. 

Aldobrandini,  tomb  of,  45. 

Alfieri,  monument  of,  16. 

Aliotti  of  Fiesole,  Bishop, 
tomb  of,  45. 

Allori,  Alessandro,  Annuncia- 
tion, 196-197. 

Ambrogio,  Giovanni  d'  (see 
Giovanni  d'  Ambrogio). 


Ambrogio,  Lorenzetti,  Presen- 
tation, 188. 

Andrea  del  Castagno,  fresco, 
16, 92,  paintings  of  St.  John 
the  Baptist  and  St.  Mary 
Magdalen,  172. 

Andrea  del  Sarto,  fragment, 
161,  Vallombrosan  saints 
and  Virgin,  166,  Vallom- 
brosan saints,  171. 

Andrea  di  Firenze,  fresco  of 
the  Way  to  Paradise,  64-67. 

Andrea  Orcagna  (see  Orcagna, 
Andrea). 

Andrea  Fisano  (see  Pisano, 
Andrea). 

Andrea  Sansovino  (see  Sanso- 
vino,  Andrea). 

Angelico,  Fra,  4,  111-112, 
frescoes  of  St.  Dominic, 
114-115,  the  Great  Cruci- 
fixion, or  Adoration  of  the 
Cross,  1 16-120,  frescoes  of 
the  dormitory  of  St.  Mark, 
123-134,  137,  Descent  from 
the  Cross,  178-180,  smaller 
works  in  the  Belle  Arti,  Last 
Judgment,  etc.,  199-21 1. 


217 


21 


Index. 


Angelo  (see  Michael  Angelo 
Buonarotti). 

Antonine,  St.,  Bishop  of  Flor- 
ence, bust  of,  45,  portrait 
of,  100,  frescoes  of,  114, 
figure  of,  121. 

Antonio  PoUaiolo,  relief  of 
the  Birth  of  the  Baptist, 
106. 

Antonio  Rossellino  (see  Ros- 
sellino,  Antonio). 

Antonio  Sogliani,  fresco,  Prov- 
idenza,  120-121,  Raphael 
and  Tobias,  196. 

Antonio  Veneziano,  fresco, 
Resurrection,  63-64. 

Aretino,  Spinello  (see  Spinello 
Aretino). 

Arezzo,  Niccoli  d'  (see  Nic- 
colo  d'  Arezzo). 

Arnolfo  di  Cam  bio,  design  of 
Santa  Croce,  12,  design  of 
Cathedral  of  Santa  Maria 
del  Fiore,  75-76,  statue  of, 
96,  monument  of,  103. 

Baccio  Bandinelli,  statue  of 
St.  Peter,  loi,  reliefs  of 
Saints  and  Prophets,  104. 

Balducci  (see  Giovanni  Bal- 
ducci). 

Banco,  Maso  di,  frescoes,  33. 

Banco,  Nanni  di,  relief  of  the 
Assumption  of  the  Ma- 
donna, 97-98. 

Bandinelli  (see  Baccio  Ban- 
dinelli). 

Bandini,  bas-reliefs,  55. 

Baptistery  (see  Cathedral,  the 
old). 

Bartolommeo,  Fra,  112,  fres- 
coes, portrait  of  Savonarola, 


129,  Madonna,  134,  Ma 
donna  Appearing  to  St. 
Bernard,  171,  two  Ma- 
donnas, portrait  of  Savona- 
rola as  St.  Peter  Martyr,  194, 
Pieta,  196. 

Battista  Lorenzi,  bust  of 
Michael  Angelo,  and  figure 
of  Painting  on  the  tomb  of 
Michael  Angelo,  15. 

Belle  Arti  (see  Accademia 
delle  Belle  Arti). 

Benedetto  da  Rovezzano, 
statue  of  St.  John,  101. 

Benedetto,  Fra,  frescoes  of 
the  Crucifixion,  128-129, 
illuminated  manuscripts,  130 

-131- 

Benozzo  Gozzoli,  45,  fresco  of 
the  Journey  of  the  Three 
Kings  to  Bethlehem,  136- 
140. 

Bernardo  Daddi,  frescoes  of 
the  Trial  and  Martyrdom 
of  St.  Stephen,  and  Martyr- 
dom of  St.  Lawrence,  32. 

Bernardo  Orcagna  (see  Or- 
cagna,  Bernardo). 

Bernardo  Rossellino  (see  Ros- 
sellino, Bernardo). 

Bicci  di  Lorenzo,  Madonna 
with  goldfinch,  147. 

Bicci,  Neri  di  (see  Neri  di 
Bicci). 

Bologna,  Giovanni  da  (see 
Giovanni  da  Bologna). 

Borgognone,  169. 

Botticelli,  7,  112,  Primavera, 
162-163,  Coronation  of  the 
Virgin,  167,  St.  Eloy,  168, 
Madonna  and  Saints,  172, 
Enthroned   Madonna,    173, 


Index. 


219 


Archangels     and     Tobias, 

173-174- 

Bracciolini  (see  Poggio  Brac- 
ciolini). 

Bninelleschi,  Filippo,  Cap- 
pella  de'  Pazzi,  36,  crucifix, 
54,  completion  of  Santa 
Maria  del  Fiore,  75,  dome 
of  Santa  Maria  del  Fiore, 
77,  design  for  doors  of  Bap- 
tistery, 85,  statue  of,  96, 
bust  of,  100. 

Bruni,    Leonardo,    tomb    of, 

17- 
Buggiano,  bust   of   Brunei- 

leschi,  100. 
Bugiardini,  Martyrdom  of  St. 

Catiierine,  47. 
Buonarotti  (see  Michael   An- 

gelo  Buonarotti). 

Camaino  (see  Tino  da  Cama- 

ino). 
Cambio,  Arnolfo  di  (see  Ar- 

nolfo  di  Cambio). 
Campanile,  96,  109-110. 
Carlo  Dolci,  Eternal   Father, 

197. 
Castagno    (see    Andrea    del 

Castagno). 
Cigoli,  St.  Francis,  Martyrdom 

of  St.  Stephen,  197. 
Cathedral,  the  new,  of  Santa 

Maria  del  Fiore,  74-77,  94- 

IIO. 

Canons'  Entrance,  95. 
Fa9ade,  94. 

Tribune  of  San  Zanobi,  97, 
99,   lOI. 
Cathedral,    the   old,    or   Bap- 
tistery, of  St.  John  the  Bap- 
tist, 5-8,  73-93- 


Ghiberti's  bronze  doors  for, 
85-90, 

Cimabue,  Madonna,  46,  Ma- 
donna, 144,  147,  Madonna 
and  angels,  182-183. 

Cioli,  figure  of  Sculpture  on 
tomb  of  Michael  Angelo,  15. 

Cosimo  Rosselli,  St.  Barbara, 

158-159- 

Credi,  Lorenzo  di  (see  Lo- 
renzo di  Credi). 

Cronaca,  design  of  fa9ade  of 
Santa  Croce,  13,  cornice  of 
Strozzi  Palace,  39,  front  of 
court  of  Strozzi  Palace,  40. 

Daddi,  Bernardo  (see  B  e  r- 
nardo  Daddi). 

Dante,  3,  6,  7,  statue  of,  12, 
cenotaph,  15. 

Danti,  Vincenzo  (see  Vin- 
cenzo  Danti). 

Davide  Ghirlandajo  (see  Ghir- 
landajo,  Davide). 

De  Fabris,  fa9ade  of  the 
Cathedral  of  Santa  Maria 
del  Fiore,  77,  same,  94-95, 
designs  for  fa9ade,  log. 

Delia  Robbia  (see  Robbia, 
della). 

Desiderio  da  Settignano, 
monument  of  Carlo  Marsup- 
pini,  34,  frieze  of  the  Cap- 
pella  de'  Pazzi,  36. 

Dolci  (see  Carlo  Dolci). 

Domenico  Ghirlandajo  (see 
Ghirlandajo,  Domenico). 

Domenico  di  Michelino,  paint- 
ing of  Dante  explaining  the 
Divina  Commedia,  103. 

Donatello,  4,  Annunciation, 
16-17,  frieze   of    the   Cap- 


110 


Index. 


pella  de'  Pazzi,  36,  statue 
of  St.  Mary  Magdalen,  92, 
figure  of  John  XXIII.,  on 
his  toml>,  93,  completion  of 
Assumption  of  the  Virgin 
statuettes,  98,  statue  of 
Poggio  Bracciolini,  103,  re- 
liefs of  children,  decorating 
singing-lofts,  104-106,  me- 
dallions above  arcade  of 
Riccardi  Palace,  136. 

Don  Lorenzo  Monaco  (see 
Lorenzo  Monaco). 

Duccio,  Agostino  d  i  (see 
Agostino  di  Duccio). 

Duomo  (see  Cathedral,  new, 
of  Santa  Maria  del  Fiore, 
and  Opera  del  Duomo). 

Dupre,  Adoration  of  the  Cross, 
14,  relief  of  Savonarola, 
129. 

Fabriano,  Gentile  da  (see  Gen- 
tile da  Fabriano). 

Ferrucci,  statue  of  St.  Andrew, 
102. 

Ficino,  Marsilio,  monument 
of,  100. 

Fiesole,  Mino  da  (see  Mino 
da  Fiesole). 

Filippino  Lippi  (see  Lippi, 
Filippino). 

Filippo  Lippi  (see  Lippi, 
Filippo). 

Firenze,  Andrea  di  (see  An- 
drea di  Firenze). 

Florence,  Name,  2,  8. 
Origins,  1-9. 

Fra  Angelico  (see  Angelico, 
Fra). 

Fra  Bartolommeo  (see  Barto- 
lommeo,  Fra). 


Fra  Benedetto  (see  Benedetto, 

Fra). 
Fra  Filippo  Lippi  (see  Lippi, 

Filippo). 
Franca  villa,  statues,  135. 
Francesco     Nori,    monument 

of,  15. 
Fra   Ristoro   (see   R  i  s  t  o  r  o, 

Fra). 
P  rancesco    Rustici,    bronze 

group  of  the  Preaching  of 

John  the  Baptist,  80-81. 
Fra  Sisto  (see  Sisto,  Fra). 
Francesco  Talenti,  completion 

of  the  Campanile,  in. 
Francia,  161. 
Fra  Paolino  (see  Paolino,  Fra). 

Gaddi,  Agnolo,  frescoes  of 
the  lives  of  St.  Nicholas,  St. 
John  the  Baptist,  St.  John 
the  Evangelist,  and  St. 
Anthony,  17-18,  frescoes  of 
the  history  of  the  Holy 
Cross,  30-32,  Madonna  and 
Child,  183-184,  p  red  ell  a, 
story  of  Joachim  and  Anna, 
186. 

Gaddi,  Gaddo,  Coronation  of 
the  Virgin,  100. 

Gaddi,  Taddeo,  17,  frescoes  of 
the  life  of  the  Virgin,  18, 
25,  fresco  of  the  Entomb- 
ment, 33,  Last  Supper,  36, 
54,  fresco  of  the  Way  to 
Paradise,  64-67,  Glory  of 
St.  Thomas  Aquinas,  68-69, 
Descent  of  the  Holy  Ghost, 
70,  76,  Entombment,  183. 

Galileo  Galilei,  tomb  of,  34. 

Garbo,  Rafaellino  del  (see 
Rafaellino  del  Garbo). 


Index. 


221 


Gentile  da  Fabriano,  137,  138, 
140,  Adoration  of  the  Magi, 
175-178. 

Ghiberti,  Lorenzo,  4,  Descent 
from  the  Cross,  34,  bronze 
doors  of  the  Baptistery,  84- 
go,  relief  of  San  Zanobi, 
101-102. 

Ghiberti,  Vittorio,  84. 

Ghirlandajo,  Davide,  mosaic, 
Annunciation,  97. 

Ghirlandajo,  Domenico,  4,  25, 
36,  frescoes  of  the  life  of  St. 
John  the  Baptist,  and  the 
history  of  the  Virgin,  50- 
53,  frescoes  of  St.  Francis 
and  St.  Peter  Martyr,  54, 
Annunciation,  97,  fresco  of 
the  Last  Supper,  121,  Ma- 
donna and  Child,  159-160, 
Adoration  of  the  Shepherds, 
192-193,  Annunciation, 
207. 

Ghirlandajo,  Michele,  Mar- 
riage of  St.  Catherine  of 
Siena,  169. 

Ghirlandajo,  Ridolfo,  St. 
Lucy,  46. 

Giottino,  frescoes,  33. 

Giotto,  4,  17,  20,  21,  Corona- 
tion of  the  Virgin,  22,  fres- 
coes of  the  lives  of  St.  John 
the  Baptist  and  St.  John  the 
Evangelist,  27-28,  frescoes 
of  the  life  of  St.  Francis, 
28-30,  Last  Supper,  36, 
frescoes  of  the  life  of  the 
Virgin,  59-61,  Campanile, 
76,  door  of  the  Cathedral, 
95,  monument  of,  100,  109, 
fa9ade  of  Cathedral,  116, 
altar-piece.  Madonna   and 


angels,  183,  panels  of  the 
life  of  Christ,  184-185,  life 
of  St.  Francis,  186-187. 

Giovanni  Balducci,  Last  Sup- 
per, 102. 

Giovanni  d'  Ambrogio,  door  of 
the  Cathedral,  97. 

Giovanni  da  Bologna,  Chapel 
and  statue  of  St.  Antonine, 

.^35- 

Giovanni  da  Milano,  17,  19,  20, 
frescoes  of  the  life  of  the 
Madonna,  24-25,  54. 

Giovanni  dell'  Opera,  figure 
of  Architecture  on  the  tomb 
of  Michael  Angelo,  1 5, 
statues  of  St.  Philip  and  St. 
James,  loi,  reliefs  of  saints 
and  prophets,  104. 

Giovanni  di  Salerno,  tomb  of, 

.5°- 
Giovanni,     Lorenzo    di    (see 

Lorenzo  di  Giovanni). 
Giovanni  Pisano  (see  Pisano, 

Giovanni). 
Giuliano  da  Majano  (see  Ma- 

jano,  Giuliano  da). 
Gozzoli    (see    Benozzo    Goz- 

zoli). 
Granacci,  Assumption  of  the 

Virgin,  169-170. 
Green  Frescoes,  61. 

Hawkwood,  Sir  John,  monu- 
ment of,  100. 

Jacopo  della  Querela,  85. 

Jacopo  Sansovino  (see  San- 
sovino,  Jacopo). 

Joseph,  Patriarch  of  Con- 
stantinople, tomb  of,  45, 
portrait  of,  137-138. 


Ill 


Index. 


Lanzi,  monument  of,  i6. 

Leonardo  Bruni,  tomb  of,  17. 

Leonardo  da  Vinci,  4,  design 
of  bronze  group  of  the 
Preaching  of  John  the 
Baptist,  81. 

Lippi,  Filippino,  frescoes  of 
the  lives  of  St.  John  the 
Evangelist  and  St.  Philip, 
47-49,  design  for  window 
of  Strozzi  Chapel,  50,  92, 
Descent  from  the  Cross, 
170-171. 

Lippi,  Filippo,  4,  139,  St.  Je- 
rome in  the  desert,  157, 
Coronation  of  the  Virgin, 
160,  Nativity,  165,  Virgin 
adoring  the  Child,  165-166. 

Lorenzetti  (see  Ambrogio  Lo- 
renzetti). 

Lorenzi,  Battista  (see  Bat- 
tista  Lorenzi). 

Lorenzo,  Bicci  di  (see  Bicci  di 
Lorenzo). 

Lorenzo  di  Credi,  Nativity, 
171-172. 

Lorenzo  di  Giovanni,  Canons' 
Entrance  to  the  Cathedral, 
96. 

Lorenzo  Ghiberti  (see  Ghi- 
berti,  Lorenzo). 

Lorenzo  Monaco,  figures  of 
saints,  180,  Annunciation, 
190-191. 

Luca  della  Robbia  (see  Rob- 
bia,  Luca  della). 

Luca  Signorelli,  Madonna  em- 
bracing the  Cross,  160,  191- 
192, 

Macchiavelli,  monument  of, 
16. 


Mainardi,  Ascension    of    the 

Madonna,  21. 
Majano,     Giuliano    da,    San 

Zanobi,  108. 
Majano,  Benedetto  da,  pulpit, 

15-16,  39,  tomb  of  Filippo 

Strozzi,    49,    monument    of 

Giotto,  100. 
Mariotto  Albertinelli,  Trinity, 

161,      163,      Annunciation, 

193-194. 
Marsuppini,  Carlo,  monument 

of,  34- 
Martini,  Simone  (see  Simone 

Martini). 
Masaccio,  28,  Trinity,  45,  Ma- 
donna and  Child,  with  St. 

Anne,  168. 
Maso   di  Banco  (see   Banco, 

Maso  di). 
Matas,    N.,    modification    of 

Cronaca's  design  for  fa9ade 

of  Santa  Croce,  13. 
Medici,  Cosimo  Pater  Patriae, 

135- 

Medici,  Lorenzo  de',  palace  of, 
136. 

Medici  Palace,  135-140. 

Medici,  Piero  de',  shrine,  136. 

Michael  Angelo  Buonarotti, 
4,  tomb  of,  15,  David  and 
collection  of  casts  of  all 
plastic  work,  151-153. 

Michele  Ghirlandajo  (see 
Ghirlandajo,  Michele). 

Michelino,  Domenico  di  (see 
Domenico  di  Michelino). 

Michelozzo,  Cappella  Medici, 
22,  figures  of  Faith,  Hope, 
and  Charity  on  the  tomb  of 
John  XXIIL,  106,  statue 
of   John   the   Baptist,   106, 


Index. 


223 


Monastery  of  San  Marco, 
III,  loggia  of  same,  114, 
Medici  or  Riccardi  Palace, 

135- 

Milano,  Giovanni  da  (see 
Giovanni  da  Milano). 

Mino  da  Fiesole,  ciborium, 
22. 

Monaco,  Lorenzo  (see  Lo- 
renzo Monaco). 

Morandi,  portrait  of  St. 
Antonine,  100. 

Morghen,  Raphael,  monument 
of,  34- 

Nanni  di  Banco  see  (Banco, 

Nanni  di). 
Neri  di  Bicci,  St.  Francis,  144, 

St.     Appollonia,     144-145, 

Annunciation,  145,  149,  191. 
Niccol6  d'Arezzo,  door  of  the 

Cathedral,  98,  figure  of  an 

angel  in  the  Cathedral,  108. 
Niccolo     di      Pietro     Gerini, 

fresco  of  the  Passion,  24. 
Niccol6  Manucci  di  Tolentino, 

monument  of,  100. 
Niccol6   Pisano    (see   Pisano, 

Niccol6). 
Nino     Pisano     (see     Pisano, 

Nino). 
Nori,    Francesco,    monument 

of,  15. 

Opera  del  Duomo,  103-109. 

Opera,  Giovanni  dell'  (see 
Giovanni  dell'  Opera). 

Orcagna,  Andrea,  47,  50,  Last 
Judgment,  55-56,  Para- 
dise, 56,  altar-piece,  Christ 
giving  the  keys  to  St.  Peter 
and   book   to    St.   Thomas 


Aquinas,  56-57,  97-98,  San 
Zanobi,  103,  no. 
Orcagna,   Bernardo,    Inferno, 
56. 

Pacchiarotto,  Visitation,  163- 
165. 

Paolino,  Fra,  Madonna  and 
Child,  194-195,  Madonna 
and  St.  Thomas,  195,  Pieta, 
196. 

Paolo  Uccello,  Sacrifice  of 
Noah  and  the  Deluge,  in 
the  Green  Cloister,  62. 

Perugino,  Assumption  of  the 
Virgin,  154-156.  Descent 
from  the  Cross,  156,  The 
Agony  in  the  Garden,  1 56- 
157,  Crucifixion,  166,  Com- 
pletion of  Filippino  Lippi's 
Descent  from  the  Cross, 
1 70-17 1,  portraits,  203-204. 

Pesellino,  Martyrdom  of  St. 
Cosimo  and  St.  Damian, 
169. 

Pico   della    Mirandola,   tomb 

of,  135- 

Piero  di  Giovanni  Tedesco, 
door  of  the  Cathedral,  98. 

Pietro  Gerini,  Niccol6  di  (see 
Niccol6  di  Pietro  Gerini). 

Pisano,  Andrea,  bronze  doors 
of  the  Baptistery,  81-84, 
86,  87,  107,  completion  of 
the  Campanile,  109. 

Pisano,  Giovanni,  75,  Ma- 
donna, 104. 

Pisano,  Niccol6,  16,  75-76,  84. 

Pisano,  Nino,  Madonna  and 
Child,  45. 

Poccetti,  fresco,  St.  Antonine, 
115. 


224 


Index. 


Poggio  Bracciolini,  statue  of, 

103. 
Poliziano,  tomb  of,  135. 
Pollaiolo    (see    Antonio    Pol 

laiolo). 
Ponte  alia  Carraja,  6. 
Ponte  Vecchio,  6. 
Pontormo,  portrait  of  Cosimo 

de'  Medici,  133. 

Querela,  Jacopo  della  (see 
Jacopo  della  Querela). 

Rafaellino  del  Gabo,  Resur- 
rection, 172. 

Raphael,  28. 

Riccardi  Palace,  113-114,  135- 
140. 

Robbia,  della,  4,  17,  terra- 
cotta statues  of  St.  Francis 
and  St.  Bernardino,  1 8, 
terra-cotta  of  the  Corona- 
tion of  the  Virgin,  attrib- 
uted to  Luca  della  Robbia, 
22,  Madonna  and  Child,  22, 
Pieta,  23,  relief  of  the 
Meeting  of  St.  Dominic 
and  St.  Francis,  42,  lava- 
tory in  marble  and  terra- 
cotta, 58,  reliefs  attributed 
to  Luca,  1 01  (see  also 
Robbia,  Luca  della,  Robbia, 
Giovanni  della). 

Robbia,  Giovanni  della,  the 
Baptist  in  the  Desert, 
108. 

Robbia,  Luca  della,  terra-cotta 
of  the  Coronation  of  the 
Virgin,  22,  terra-cottas  in 
the  Cappella  de'  Pazzi,  36, 
reliefs,  loi,  reliefs  of  chil- 
dren for  singing-lofts,  104- 


106,   group    from   previous 

series,  107. 
Rosselli,  Cosimo  (see  Cosimo 

Rosselli). 
Rossellino,  Antonio,  Madonna 

and  Child,  15. 
Rossellino,  Bernardo,  tomb  of 

Leonardo    Bruni,   17,  tomb 

of  the  Beata  Villana,  47. 
Rossi,  statue  of  St.  Thomas, 

102. 
Rovezzano  (see  Benedetto  da 

Rovezzano). 
Rucellai  Palace,  41. 

Salerno,  Giovanni  di,  tomb  of, 

SO. 
San     Marco,     monastery    of, 

111-134,    church    of,    134- 

135- 
San  Miniato,  church  of,  73. 
San  Paolo,  hospital  of,  42. 
Sansovino,     Andrea,    marble 

group   of    the   Baptism   of 

Christ,  81. 
Sansovino,  Jacopo,  statue  of 

St.  James  the  Greater,  102. 
Santa  Croce,  6,  7,  10-37,  39, 

42,  43.  44- 

Bonaparte  Chapel,  27. 

Medici  Chapel,  22. 

Pazzi  Chapel,  27. 

Peruzzi  Chapel,  36. 

Rinuccini  Chapel,  24. 

Sacristy,  24. 
Santa  Maria  Novella,  6,  7,  10, 

38-72. 

Choir  Chapels,  47. 

Gaddi  Chapel,  55. 

Green  Cloister,  61-62. 

Mediaeval  exterior,  42. 

Renaissance  fafade,  42-44. 


Ind 


ex. 


225 


Rucellai  Chapel,  46. 

Sepolcreto,  59-61. 

Spanish  Chapel,  59,  62-72. 

Strozzi  Chapel,  47-50. 

Strozzi  Chapel  (second),  55. 
Sarrocchi,   relief  of  the  Dis- 
covery of  the  True  Cross, 

13,    rose    window    of    the 

Cathedral,  94. 
Sarto  (see  Andrea  del  Sarto). 
Savonarola,  112,  129, 194. 
Settignano,  Desiderio  da  (see 

Desiderio  da  Settignano). 
Siena,  Ugolino  da(see  Ugolino 

da  Siena). 
Signorelli,    Luca    (see    Luca 

Signorelli). 
Signoria,  12. 
Simone  Martini,  fresco  of  the 

Way  to  Paradise,  64-67. 
Sisto,    Fra,  design   of    Santa 

Maria  Novella,  39. 
Sogliani    (see     Antonio     So- 

gliani). 
Spinello  Aretino,  27. 
Strozzi,  Alessandro  dei,  tomb 

oi,  55- 
Strozzi     Chapel    (see    under 

Santa  Maria  Novella). 
Strozzi,  Filippo,  tomb  of,  49. 
Strozzi  Palace,  39-40. 


Taddeo  Gaddi  (see  Gaddi. 
Taddeo). 

Tino  da  Camaino,  46. 

Tolentino  (see  Niccolo  Ma- 
nucci  di  Tolentino). 

Tornabuoni,  Ludovica,  por- 
trait of,  52. 

Tornabuoni,  Giovanni  and  his 
vrife,  portraits  of,  53. 

Uccello  (see  Paolo  Uccello). 
Ugolino  da  Siena,  Coronation 
of  the  Virgin,  149. 

Veneziano  (see  Antonio  Vene- 
ziano). 

Verrocchio,  4,  Death  of  the 
Baptist,  106,  Baptism  of 
Christ,  167-168. 

Vincenzo  Danti,  bronze 
group  of  the  Beheading  of 
John  the  Baptist,  81. 

Vinci,  Leonardo  da  (see  Leo- 
nardo da  Vinci). 

Vittorio  Ghiberti  (see  Ghi- 
berti,  Vittorio). 

Zucchi,  relief  of  the  appear- 
ance of  the  Cross  to  Con- 
stantine,  14. 


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